SIDNEY  HOWARD 


GIFT  OF 
CCiV&S   <T 


Drama 


Sidney  Howard  of  Berke 
ley  Author  of  Powerful 
Play  Produced  in 
York 


to  watch   eastern   play.s. 


D/^7      TL*™*      ^4-\         bwords      must   hav 

Via       I  neme      OfUectlve  nlav  on   th  n    the 


"The  Wandering  Jew" 
Used  by  E.  Temple 
Thurston;  Masque  Car 
ries  Message  of  Hygiene. 


book  it   is   one   of   distinctive   p. 
It   concerns  a    woman,   half 
and  of  great  spiritual  power,  wh 
held  as  a  hostage  by  a  powerful 
licentious     chieftain.        Intri 
prevent  h«=T  return,  the  various  ninn- 
ner    of   who    battle    (hat    they    n 
pay  her  court,   and   the   nobility 
wsich      thfe   writer      surrourn; 

The  opportunity  for  those  of  us  in  i heroine   are    the    high 
I  the    Bay    cities    who    have    read    of|booli-      Tt   is   «•    play., 
j  Sidney  Howard's  play,  "Swords,"  and  (knights  and.  ^rr 
;  of  its  reception  by  the  critics  in  New  i      Howard's     ^fc^nbr' 
|  York,  to  read  it  for  ourselves  is  pro-  !  opened  the  Gre^UpJieater  in    Merke- 
;  sented     with     the     issuance     of     the  j^e-v-      He    was    associated    with    Sam 
volume.      Howard    has    produced    a  Hume  in   the  California   Masque   he- 
play  so' good  that  the  wonder  is,  not  fore    tne    war   and,    for   a    time,    was 
that  it  was  taken  off  the  boards  in   on  the  staff  of  Life.     In  viejv  of  his  i 
j  the  metropolis,   but  that,  it  was  ever   latest  work,  and   of  the  fact  that  he 
'put   on.      Manager   of   playhouses   in  }*    T1°    more    than    30    year's    old,    it 
a   city  where   "Getting  Gertie's  Gar-  is  n°t  surprising  that  there  has  been 
ter,"   and    plays   of   similar   lure,    are  Pre>  r     \\ini     a      remarkable 

i  not  wont  to  dare  fortunes  with   one  career.  ^tjM 

that     presents    for    approbation1    its        ("Swo  ^^idney     Howard: 

literary  merit.  ;New    York,    George    IT.    Dor;i 

In  no  season  but  the  unusual  one  $1-30.)  

could  "Swords"  hope  for  success.      A 
year  or  so  ago  New  York  \vas  crowd-  \ 
ing  every  playhouse   and   there  were  j 
sig-ns  for  encouragement,  wlvMi   "The 
Jest."     for    instance,     met     with    ;ip-i 
proval.         This      year      there       were  • 
twenty-seven     plays    taken     off    the 
boards,    plays  good   and    bad,   but   for  [ 
the  most,  ;  r  than   tlmso  i  ]1Ht  ; 

were  left.     .Peculiarly  (h»-  «!i\-<niM  thnt 
appea 
that    fall.- 

purse   or  '  nee   is   felt   on 

boards.       It     would    seem    that    the  j 
"tired    busines.  is    nil    \\-ho    is  : 


SIDNEY  HOWARD 
SWORDS 


Photo  by  Abbe 


FIAMMA 

Clare  Eames 


SWORDS 


BT 


SIDNEY  HOWARD 


NEW  XBJT  YORK 
GEORGE  H.  DORAN  COMPANY 


Copyright,  ig2i, 
By  George  H.  Dor  an  Company 


Printed  in  the  United  States  of  America 


TO 

CLARE  EAMES 


457638 


The  author  gratefully  acknowledges  his 
indebtedness  to  certain  modern  masters  of  medi 
eval  life  for  the  inspiration  and  instruction 
their  books  have  afforded  him.  Particularly 
he  would  name  Henry  Osborn  Taylor's  "The 
Medieval  Mind",  Henry  Adams'  "Mont  St. 
Michel  and  Chartres",  and  the  two  revivers  of 
medieval  romance,  James  Branch  Cabell  and 
Joseph  Bedier. 


CAST  OF  FIRST  PRESENTATION 

The  Play  was  first  produced  at  the 
opening  of  the  National  Theatre  in  New 
York  City  on  September  ist,  1921. 

THE  PRINCIPALS 

AMINA     Sophie  Wilds 

GIOVANNA      Lillian  Dix 

MADDELENA      Helen  Forrest 

CANETTO      jose  Ruben 

JACOPONE     j0hn  Saunders 

THE  CAPTAIN  OF  THE  GARRISON      Edward  Mackay 

UGOLINO     Charles  Waldron 

THE  PAPAL  NUNCIO      Montague  Rutherfurd 

MARIA Jane  Darwell- 

FIAMMA    Clare  Eames 

FIORENZO      Catherine  Roberts 

DAMIANO      Raymond  Bloomer 

OTHER  CHARACTERS 

A  BURGHER     Neil  Quinlan 

A  FISHERMAN     Fairfax  Burgher 

A  FARMER     William  Ludlow 

A  MOTHER     Ida  Zeithm 

HER  CHILD     Margaret  Campbell 

A  YOUNG  MOTHER       Winifred  Taylor 

A  FISHER'S  WIFE    M elita  Milton 

SOLDIERS,    MUSICIANS,    PEASANTS    AND    OTHERS 

The  production  was  designed  by  Robert  Edmund  Jones. 

The  incidental  music,  including  the  settings  of  Adam  de  St. 
Victor's  hymn  and  the  thirteenth  century  song  which  Canetto 
sings,  was  composed  by  Donald  N.  Tweady. 

The  production  was  made  under  the  management  of  Brock 
Pemberton. 

Shortly  after  the  opening  Charles  Waldron  was  replaced  in 
the  role  of  UGOLINO  by  Arthur  Vinton. 


CHARACTERS  OF  THE  PLAY 

FlAMMA 

UGOLINO 

DAMIANO 

CANETTO 

FIORENZO 

THE  NUNCIO  OF  THE  POPE 

THE  CAPTAIN  OF  THE  GARRISON 

THE  SOLDIER,  JACOPONE 

MARIA 

AMINA 

MADDELENA 

GIOVANNA 

SOLDIERS,  BURGHERS,  FISHERFOLK 

A  MUSICIAN 

SIX  SINGERS 


PERIOD 

During  the  struggle  between  the  Popes  and  the  Em 
perors,  a  little  after  the  height  of  the  Crusades,  a  little 
before  the  revival  of  learning.  The  great  days  of  the 
Guelphs  and  Ghibellines. 


NOTE 

The  action  of  the  play  is  continuous. 

FIAMMA  is  marvellously  like  the  mediaeval  concept  of 
the  Virgin  Mary,  the  concept  which  inspired  the  cathe 
dral  of  Chartres,  the  hymns  of  Bernard  of  Clairvaux,  and 
the  Paradise  of  Dante.  The  concept  of  an  altogether 
human  Empress,  devoted  to  her  servants,  none  too 
scrupulous,  temperamental,  exacting,  very  feminine, 
wholly  glorious. 

The  first  act  closes  at  Vespers.  The  second  act  at  the 
height  of  the  moon.  The  third  act  after  moon-set. 
The  fourth  at  dawn. 

Colorfully  the  acts  might  be  described  as  dusk,  moon 
light,  torchlight,  and  daybreak. 

From  time  to  time  a  sentry  passes  the  window. 


THE     SETTING 

All  the  length  of  the  Italian  seacoast  watch  towers 
rise  from  the  waters  and  perils  of  the  middle  ages. 
These  days  they  are  but  gaunt  things,  futile  ruins, 
lichen  stained  angles  and  broken  parapets.  We  can  only 
guess  at  the  vitality  of  their  past. 

The  action  of  this  play  occurs  in  one  of  them,  the 
tower  castle  of  Ugolino,  a  baron  of  the  Ghibelline  fac 
tion.  It  stands  upon  an  isolated  rock,  a  short  row  from 
the  shore,  a  day's  ride  from  Rome. 

It  is  a  high,  shadowy,  box  of  a  place,  of  rough  masonry 
and  crude  timber  work.  A  stair  at  the  back  wall  (as 
we  look  in)  gives  the  single  note  of  architectural  sym 
metry.  One  arm  reaches  up  to  the  door  of  a  room. 
The  other  arm  ends  in  a  kind  of  gallery  beneath  a 
window  which  overlooks  the  sea.  There  is  a  fireplace, 
too,  and,  just  opposite,  a  lower  door.  This  is  the  single 
entrance  from  the  outer  world. 

The  upper  room  to  which  the  stairway  leads  is  the 
prison  of  FIAMMA.  In  her  honor  the  master  of  the 
tower  has  to  some  extent  softened  its  bleakness.  On  the 
stair  wall,  just  outside  FIAMMA 's  door,  he  has  made  a 
shrine  of  the  Virgin  and  Child,  very  bright  and  blue 
and  gold.  Below  the  stair-rail  he  has  hung  a  crude 
tapestry  of  the  Virgin  in  a  mandorla  of  glory.  Beyond 
this  the  place  is  crudely  furnished.  A  bare  table,  one 
chair,  some  stools.  Weapons  stand  in  the  corners  and 
a  fisher's  net  has  been  hung  up  to  dry. 

Under  the  floor  there  are  dungeons.  A  trap  leads  to 
them. 


ILLUSTRATIONS 

FIAMMA  (Clare  Eames) Frontispiece 

Photo  by  James  E.  Abbe 

PAGE 

DESIGN  FOR  THE  SCENE  BY  ROBERT  EDMUND  JONES      64 

"You  SHALL  BE  MY  PROTECTOR  Now!"  ...       64 
Photo  by  James  E.  Abbe 

"BEAUTY  WITH  ME  OR  CORNHUSKS  WITH  A  SWINE" 

(Clare  Eames  and  Jose  Ruben)     .     .     .     .     112 
Photo  by  James  E.  Abbe 


SWORDS 


SWORDS 


THE  FIRST  ACT 

Before  the  rise  of  the  curtain,  CANETTO  is  heard  singing 
very  merrily. 

CANETTO 

"Le  vin  est  bon  et  bel  et  blanc. 
Fort  et  fer  et  fin  et  franc, 
Freit  et  fres  et  fourmijantl" 

The  rise  oj  the  curtain  discovers  the  scene  at  twilight. 
(A  soldier  stands  at  the  window  looking  out  over  the 
sea.  He  comes  down  the  stair.  He  pauses  a  moment. 
He  looks  up  at  the  door  oj  FIAMMA'S  chamber.) 
CANETTO  stands  in  the  window.  He  is  a  smallish, 
alert  man,  dark,  pale  Italian.  Sometimes  he  will 
seem  very  young  to  us,  sometimes  old  and  hardened. 
He  is  strangely  clad  in  a  kind  oj  jaded  motley,  worn, 
perhaps,  by  hard  riding  and  rough  beds.  His  cloak 
trails  down  below  his  feet. 

He  is  watching  those  on  the  sta?e  below  him. 
(Three  servants  enter.) 

They  are  three  peasants.    AMINA,  a  waiting  woman,  is 
vulgar,  gaudy  and  noisy.   She  is  strewing  the  floor 
with  rushes.     MADDELENA,  a  charwoman,  sweeps. 
The  third,  GIOVANNA,  scrubs  the  table. 
17 


SWORDS  [ACT  i 

THE  SOLDIER 

Mind  you,  no  talk  with  Fiamma.  .  .  . 
Ugoline  won't  allow  it. 

[He  goes. 

AMINA 

There's  that  singing  again! 
...  So  clean  it  up,  he  said. 

MADDELENA 

Who,  the  old  Captain? 
Well,  we're  cleaning. 
He's  a  good  soul. 

GlOVANNA 

It  needs  a  cleaning,  too.  .  .  . 
The  filthy,  stinkin'  pig-sty. 

[CANETTO  comes  to  the  stair  rail  and  listens  to  them. 
He  is  mightily  amused  by  their  talk.} 

AMINA 

We're  to  have  all  we  can  eat  and  drink  tonight. 
There'll  be  a  boar  ...  a  wild  boar  roasted. 
We've  not  had  that  since  Easter. 


MADDELENA 


Fish,  always  fish.  .  . 
That's  what  we  get 
Even  on  feast  nights. 


GlOVANNA 


Feasting  and  fighting! 

One  day  you  dig  a  grave  to  bury  your  man, 

The  next  you  cook  a  feast  to  feed  his  Captain, 


ACT  i]  SWORDS  19 

AMINA 
Don't  you  know  we're  at  war? 

GIOVANNI 
I  don't  know  any  good  of  it. 

AMINA 
You  stupid  peasant! 

MADDELENA 

Can't  you  leave  her  alone? 
She's  lost  her  man. 

AMINA 
Is  that  my  fault? 

[She  turns  to  GIOVANNA 
What  are  you  complaining  about? 
We  belong  to  Ugolino,  don't  we? 
And  your  man  did,  too,  before  the  wars  killed  him? 
And  Ugolino's  Ghibelline,  isn't  he? 
And  doesn't  that  mean  that  he  must  fight 
For  the  German  Emperor  against  the  Pope? 

GIOVANNA 
It's  sin  to  fight  against  the  Pope! 

AMINA 

But  that's  the  way  of  wars 

Between  us  Ghibellines  and  those  swine,  the  Guelfs. 
The  Pope  would  drive  the  Emperor  out  of  Italy; 
The  Emperor  would  shut  the  Pope  up  in  a  box. 
There  isn't  room  in  Italy  for  both. 

MADDELENA 
That's  plain  enough. 


20  SWORDS  [ACT  i 

AMINA 

And  now  the  master, 

Who  has  been  fighting,  will  be  coming  home, 
And  wants  a  feast  to  drink  the  Emperor's  health, 
And  damn  the  Pope. 

MADDELENA 
Is  it  true  Canetto  brought  word  from  the  master? 

AMINA 
You  haven't  seen  Canetto? 

[CANETTO  is  vastly  pleased. 

GlOVANNA 

Who  is  this  Canetto? 

AMINA 
He's  the  master's  lieutenant. 

MADDELENA 

And  his  councillor,  too. 
There  must  be  something  in  the  wind 
If  he  comes  here. 

He's  never  come  before 

Not  in  my  day. 

AMINA 

Nor  in  mine. 
I've  only  heard  of  him. 
They  say  he's  very  fine  and  very  clever, 
But  cruel  .  .  .  cruel. 

[CANETTO  bows. 

MADDELENA 
Yes. 

GlOVANNA 

Then  what's  he  doing  here? 
More  tricks  to  pester  her? 


ACT  i]  SWORDS  21 

AMINA 

I  shouldn't  mind. 
She's  proud  enough. 
She  wants  a  taking  down. 

MADDELENA 

Maybe  the  master  brings  him  here 
To  help  him  woo  his  hostage, 
If  he's  so  clever. 

S.  "  [Each  one,  in  twn,  looks  up  toward  the  door  of 
FIAMMA'S  chamber.] 

GIOVANNA 

She  is  so  good,  Madonna  Fiamma. 
She  cured  my  son  of  the  fever, 
Simply  by  praying. 

AMINA 

I  don't  believe  she  cured  him. 

GIOVANNA 

And  there's  Amelia's  son, 

A  cripple  since  he  was  born, 

Begging  on  the  steps  of  the  church. 

She  prayed  for  him  .  .  . 

He  walks  again. 

You  can't  deny  that's  true. 

AMINA 
Prrrt! 

MADDELENA 

Well,  there's  my  starving  cousin  Beppe,  too. 

He  never  caught  enough  fish 

To  feed  his  family. 

She  blessed  his  boat  for  him,  and  now 

He's  rich  with  fishing. 


22  SWORDS  [ACT  i 

CANETTO 

[Bored  with  this,  resumes  his  song  from  where  he 
stands.    The  women  see  him  for  the  first  time.} 

Le  vin  est  bel  et  bon  et  blanc.  .  .  . 
Fort  et  fer  et  fin  et  franc, 
Freit  et  fres  et  fourmijant. 

AMINA 
Oh,  God  save  us! 

MADDELENA 
A  player! 

GIOVANNA 
It's  a  jester 
Come  to  amuse  Madonna  Fiamma 

CANETTO 

Wrong,  gentlewomen,  it's  a  little  dog 
Sniffing  for  hidden  bones. 

MADDELENA 
It  is  a  jester! 

AMINA 
Sit  up  and  speak! 

MADDELENA 
Play  dead! 

AMINA 

[Throwing  a  rush  at  him. 
Carry  and  fetch! 

CANETTO 

Hmmmmmm.  .  .  . 
Sweet  .  .  .  wondrous  sweet! 


ACT  i]  SWORDS  23 

How  marvelous 

These  common  rushes  of  the  fields  should  hide 

Such  exquisite  aroma! 

It's  lilac,  violet,  and  spikenard 

And  makes  an  April  garden. 

You  smell  the  flowers 

On  the  salty  air  of  the  sea! 

AMINA 

I  shall  have  roses  in  my  hair  tonight, 

I  shall  drink  wine  and  have  fine  food  to  eat, 

And  I  shall  have  my  lover  to  myself. 

CANETTO 

[Chasing  her. 

Scatter  your  rushes  thick,  I'll  dance  upon  'em; 
Scatter  your  rushes,  I  will  be  your  love! 

[Catches  her. 
There's  a  feast  tonight? 

MADDELENA 
The  master's  coming  home. 

GIOVANNA 

For  what  my  lady  cares 
He  needn't  come  at  all ; 
These  rushes  on  the  floor 
Will  be  Aw  bed! 

CANETTO 

Oh,  gossip  with  me!     How  I  love  to  hear 
What  ladies  leave  their  husbands  in  the  cold! 

AMINA 
The  master's  not  her  husband. 


24  SWORDS  [ACT  i 

CANETTO 
She's  your  lord's  mistress? 

AMDSTA 

Not  even  that — 
His  prisoner. 

CANETTO 

Alas  .  .  .  poor  lady! 
And  her  husband  too? 

AMINA 
Not  he! 
He's  safe  away  from  here! 

MADDELENA 
Her  husband  is  the  master's  enemy. 

AMINA 

We're  Ghibelline,  we're  for  the  Emperor,  always. 

He's  Guelf.    They  say 

That  he's  the  Pope's  best  captain. 

CANETTO 
His  name? 

AMINA 
Damiano. 

CANETTO 
Oh,  I  remember  him.    I  saw  him  once. 

[A  very  brief  pause. 
What  is  her  name? 

AMINA 

Fiamma. 

CANETTO 

[Like  an  echo. 
Fiamma! 


ACT  i]  SWORDS  25 

AMINA 

The  people  hereabouts 
All  think  her  holy  and  beautiful. 
I  call  her  proud,  I  do. 

GIOVANNA 
She  is  so  good. 
And  she  has  such  fine  jewels. 

AMINA 
As  for  her  jewels,  Ugolino  gives  'em  to  her. 

MADDELENA 
Yes — that's  her  kind. 
She  may  have  jewels — —    But — you  know! 

GIOVANNA 
She  is  so  good. 

AMINA 

So  good  she  can't  abide  the  master. 

To  me  the  wonder  is  he'll  trouble  with  her. 

CANETTO 

[He  speaks  to  himself,  as  from  the  most  intimate 

depths  of  his  memory.] 
I  saw  her  once  in  Rome,  between  the  glare 
And  darkness  of  a  torch. 
She  is  an  ageless  creature 
Of  vivid  moods  and  colors. 
It's  plain  enough  throats  have  been  cut  for  her. 

[AMINA  shrugs  her  shoulders  and  moves  away. 
Which  of  you  is  her  waiting  woman? 

MADDELENA 
None  of  us. 
Maria  waits  on  her. 


26  SWORDS  [ACT  i 

CANETTO 
Maria?     Where  is  she? 

AMINA 

She  will  be  going  to  the  village 

Upon  Madonna's  errands. 

[JACOPONE  enters,  staggering  under  the  weight  of 
two  tremendous  logs.  He  puts  them  on  the  fire, 
and  kneels  before  the  hearth  to  blow  the  blaze 
up.] 

GlOVANNA 

Hi,  woodman.  .  .  . 

JACOPONE 
Hold  your  noise. 

GlOVANNA 

What's  to  do,  Jacopone? 

AMINA 

We've  made  the  room  clean 
As  a  wedding  bed.  .  .  .<; 

MADDELENA 

[Laughing  coarsely. 
As  my  lady's  bed, 
There's  nothing  cleaner. 

AMINA 
Has  the  master  come  yet? 

JACOPONE 

Not  yet,  he  hasn't, 
Near  vespers,  too. 

CANETTO 

[JACOPONE  has  not  observed  him. 
Are  you  the  guard? 


ACT  i]  SWORDS  27 

JACOPONE 
How  did  you  get  in? 

CANETTO 

You,  quite  unmistakably,  must  be 
The  guard.    How  wonderful 
Is  the  all-seeing  eye! 

JACOPONE 
I  don't  take  talk  from  your  kind. 

AMINA 

He's  a  jester, 
Come  to  amuse  Madonna. 

MADDELENA 
Says  he's  a  little  dog, 
Sniffing  for  hidden  bones. 

AMINA 

Speak,  little  dog, 
Sit  up  and  beg. 

MADDELENA 
Sniff,  for  us,  doggy, 
And  wag  your  tail. 

JACOPONE 
The  nasty  whelp! 
I'll  sniff  him.  .  .  . 

CANETTO 

[He  has  played  dog  for  them.    Now  he  reveals 

himself.] 

"Little  dog,"  my  friend, 
In  the  diminutive  and  common  tongue 
Of  vulgar  usage,  is  to  say  .  .  .  Canetto.  .  .  . 

[At  this  disclosure,  the  three  women  fairly  cower  to 
gether  and  JACOPONE  jails  over  backward  in  his 
astonished  fright.} 


28  SWORDS  [ACT  i 

JACOPONE 
Gesul 

CANETTO 
How  far  my  reputation  goes  afield! 

[Suddenly  military. 
Get  hence,  you  trulls!  ! 
You,  fetch  me  your  Captain,  soldier! 

AMINA 
Oh,  sir,  we  did  not  know.  .  .  . 

CANETTO 

I  am  in  charge  until  my  master  comes. 

Now  go. 

[The  jour  of  them  shudder  through  the  door.  At 
the  same  moment  MARIA,  a  bustling,  buxom 
peasant  woman  enters  and  makes  for  the  stair.] 

What  is  your  name,  my  woman? 

MARIA 

I  am  Maria,  sir. 
Madonna  Fiamma's  waiting  woman. 

CANETTO 

[Seems  to  throw  caution  to  the  winds.    His  eager 
ness  is  all  too  evident.} 
Why,  give  me  word  of  her! 
Tell  me  that  she  does  well,  is  not  unhappy, 
Tell  me  that  she  is  still 
As  I  remember  her! 

MARIA 
Who  are  you,  sir? 

CANETTO 
I  am  Madonna's  friend. 

MARIA 

Madonna  has  no  friends,  sir,  in  this  place. 


ACT  i]  SWORDS  29 

CANETTO 

But  I  .  .  .  I  am  her  friend  these  many  years. 

If  I  have  never  come  before  to  her, 

The  time  was  never  ripe  before. 

Now  I  am  come,  from  Rome, 

To  offer  her  my  service. 

Oh,  let  me  speak  with  her! 

MARIA 

Lord  Ugolino,  sir,  does  not  allow 

That  any  stranger  shall  have  speech  with  Fiamma. 

CANETTO 
Why  not? 

MARIA 
She  is  his  prisoner. 

CANETTO 
She  is  his  hostage. 

MARIA 

It  is  the  same,  since  he  will  not  release  her. 

CANETTO 

Now  that  the  Emperor's  plight  is  somewhat  grave, 
The  moment  for  her  rescue  has  arrived. 
It  is  so  long  that  I  have  waited. 
Take  me  to  her  at  once  .  .  . 

MARIA 
At  any  moment  Ugolino  will  have  come. 

CANETTO 

I  know  ...  I  know  .  .  . 
We  must  make  haste. 
Before  he  comes 
Take  me  to  her,  Maria! 


SO  SWORDS  [ACT  i 

MARIA 
Oh,  sir,  you  hurt  my  arm. 

CANETTO 
Forgive  me,  good  Maria  I 

MARIA 

[She  is  about  to  take  him  up  the  stair.    She  turns. 
Do  you  come  from  her  husband,  Sir? 
Are  you  Damiano's  man? 

[Before  CANETTO  can  answer  the  CAPTAIN  has  en 
tered.] 

CAPTAIN 
Messire  Canetto, 
You  have  disclosed  yourself. 

[He  is  an  old  man,  still  erect  and  strong,  not  in 
any  wise  perturbed  by  CANETTO.  He  dislikes 
him  but  he  is  too  good  a  soldier  to  show  disre 
spect.] 

MARIA 
Canetto  1 

[She  makes  the  sign  of  the  cross. 

CANETTO 

[Concealing  his  annoyance. 
My  disguise  wearied  me. 
Your  servants  are  true  Ghibellines, 
Captain,  they  know  my  name! 

[He  notices  that  MARIA  is  edging  her  way  up  the 

stair  toward  FIAMMA'S  door.    He  halts  her.] 
Maria,  do  not  go  to  Madonna  now. 
Get  on  about  your  business  in  the  village 
And  give  no  messages  at  all. 
What  passed  between  us  is  forgotten, 
Do  you  hear? 


ACT  i]  SWORDS  31 

I  have  a  means  to  silence  chattering  tongues  .  .  . 
A  painful  means. 
Be  off. 

[MARIA  goes. 
CAPTAIN 

I  have  no  doubt  your  watch  is  well  repaid, 
Messire  Canetto? 

CANETTO 
Yes,  well  enough. 

[His  eyes  stray  toward  FIAMMA'S  door. 
I  am  embarked 

On  the  supreme  adventure  of  my  life. 
I  am  content. 
I'd  gratefully 
Accept  a  cup  of  wine. 
There  is  wine? 

CAPTAIN 
Of  the  countryside. 

CANETTO 

Wine  of  the  countryside, 

May  anywhere  produce  a  miracle. 

CAPTAIN 

[Calls  out. 
Fetch  wine. 

CANETTO 
It's  very  old, 
This  tower. 
The  place  could  stand  a  siege. 

CAPTAIN 

These  modern  engines 
Would  knock  it  down  about  our  ears. 

[Without  speaking  of  FIAMMA,  they  both  turn  their 
heads  toward  the  door  of  her  chamber.} 


32  SWORDS  [ACT  i 

CANETTO 

[After  a  brief  pause  of  silence. 
I'm  turned  around.    On  which  side  is  the  sea? 

CAPTAIN 

Below  that  window.     Guarded. 
No  prisoner  could  escape. 

CANETTO 

[Smiling. 
She  is  the  Emperor's  hostage. 

CAPTAIN 

[A  man  of  jew  words. 
I  understand, 
Messire  Canetto. 

CANETTO 

That  is  her  chamber,  I  suppose? 

[Again  both  their  faces  turn  toward  the  door. 

CAPTAIN 

It  opens  only  on  the  gallery. 
The  chapel  is  beyond. 

CANETTO 
A  chapel? 
What  priest  officiates  at  mass? 

CAPTAIN 
A  hermit  from  the  mainland. 

CANETTO 
So? 

A  hermit  from  the  mainland? 
He  may  prove  interesting, 
This  hermit. 


ACT  i]  SWORDS  S3 

He,  and  this  good  Maria, 

Who,  as  she  pleases,  comes  and  goes. 

You  keep  a  cheerful  prison  here,  my  friend. 

[He  draws  a  necklace  of  emeralds  from  his  blouse 
and  holds  it  in  his  hand.} 

CAPTAIN 

I  am  a  soldier,  not  a  jailor,  sir, 
She  is  a  hostage,  not  a  prisoner. 

CANETTO 

I  marvel  less  she  should  collaborate 

So  deftly  with  her  .  .  .  captor's  .  .  .  enemies. 

CAPTAIN 
How  then? 

[CANETTO  shows  him  the  emeralds. 

CAPTAIN 

Those  emeralds.  .  .  . 
Why,  Ugolino  gave  them  to  her. 

CANETTO 
A  week  ago, 

I  took  them  from  an  usurer  in  Rome. 
My  master  woos  his  hostage  generously, 
And  brings  her  various  and  precious  spoils 
Which,  she  assures  him, 
Amuse  her. 
But  which,  in  fact, 
Inevitably  come  to  her  Damiano 
Who,  with  this  Spanish  Jew  (I  cut  his  throat 
Only  to  give  good  measure  in  my  bargain), 
Bartered  this  bauble  for  its  worth  in  gold 
Wherewith  to  pay  the  very  soldiery 
Whose  cross  bows  force  the  Emperor's  retreat. 


S4  SWORDS  [ACT  i 

CAPTAIN 
Gesul 

CANETTO 
I  mean  to  study 
How  she  has  reached 
Damiano  and  resuscitated  him 
Out  of  his  mire  of  exile. 

CAPTAIN 
I  will  pay  any  penalty. 

CANETTO 

Who  speaks  of  penalties? 
I  see  that  you  are  honest. 
But  it  were  well  you  understood 
How  you  have  played  the  traitor  by  your  laxness. 
And  helped  the  Pope  against  your  Emperor. 

CAPTAIN 

I  have  not  been  disloyal. 
I  have  known  Fiamma. 
I  could  wish  that  ITgolino's  dealing 
Had  been  more  honorable  to  her, 
For  there  are  moments 
When  loyalty  conflicts  with  justice. 

CANETTO 
Do  not  attempt  the  mingling  of  the  two. 

CAPTAIN 

[His  hand  to  his  sword  hilt. 
I  am  a  true  Ghibelline. 
God  save  the  Emperor! 

CANETTO 

[A  dry  sneer. 
No  other  can. 


ACT   l] 


SWORDS 


35 


[But  JACOPONE  enters  with  the  wine  at  this  moment 
and  he  changes  the  subject.] 

[Stamping  his  foot. 
The  floor  is  hollow. 

CAPTAIN 
Dungeons. 

CANETTO 


By  this  door? 


Will  you  go  down,  sir? 


CAPTAIN 


CANETTO 

No.  ...  Is  that  a  rack? 
In  good  repair? 


[Indicates  the  trap. 
[Opens  trap. 

[Peers  down. 
[CAPTAIN  nods. 


CAPTAIN 

[Very  dry  tone. 
In  excellent  repair. 

CANETTO 

A  rack  at  times  assumes  a  certain  value. 

[CAPTAIN-  closes  trap. 
[JACOPONE  goes;  CANETTO  returns  to  the  subject. 

CANETTO 

This  castle  will  be  vacant  in  two  days. 
There  may  be  fighting. 

CAPTAIN 
I  have  but  four 
And  twenty  serviceable  men. 

CANETTO 

You  will  have  heard, 
How  ill  the  Emperor's  affairs  have  prospered. 


36  SWORDS  [ACT  i 

CAPTAIN 
I  know  a  battle  has  been  fought.  .  .  . 

CANETTO 
And  lost. 

The  Pope  regains  his  Italy. 
The  day  is  to  the  Guelfs,  my  friend. 
Certain  enough  we  shall  not  linger  here. 

CAPTAIN 
Germany? 

[Neither  of  them  enjoys  this  prospect. 

CANETTO 
Alas! 
Italians  do  not  thrive  out  of  the  sun. 

CAPTAIN 

And  when  we  flee, 
Madonna  Fiamma? 

CANETTO 
With  us. 

[His  eyes  again  stray  to  the  door  of  Fiamma's 
chamber.] 

CAPTAIN 

She  is  a  hostage  honorably  given  by  the  Pope 
Against  an  honorable  return! 

CANETTO 

She  is  a  victim  of  the  tricks  of  war 
And  of  the  tricks  of  life  together. 
She  was  a  hostage  given  by  the  Pope 
To  prove  his  holy  faith. 
Now,  if  my  master  holds  her  over-long, 
It  is  to  prove  his  love. 


ACT  i]  SWORDS  87 

CAPTAIN 

Better  that  he  should  prove 
His  honor  and  agreement. 

CANETTO 

The  reckless  circumstance  of  war 
Plays  havoc  with  agreement,  sir, 
And  oftentimes  is  ignorant  of  honor. 

CAPTAIN 

i  warn  you  she  is  much  beloved 
And  reverently  considered. 

CANETTO 
By  your  men? 

CAPTAIN 

By  all  those  hereabouts. 

The  villagers  bring  her  their  sick. 

CANETTO 

[Keenly  interested. 
You  mean 
She  heals  the  sick? 

CAPTAIN 

She  has  a  power  in  her  prayer. 
The  villagers  are  wont 

To  lie  beneath  her  window  in  their  boats 

She  blesses  them. 

CANETTO 
What  do  you  think  of  her? 

CAPTAIN 

Not  easily  measured.  .  .  . 
Strong.  .  .  . 
Delicious,  too.  .  .  . 
Fearsome  as  holy  folk  may  be. 


S8  SWORDS  [ACT  i 

CANETTO 
Young? 

CAPTAIN 

She  has  led  armies  to  Jerusalem; 
She  has  been  Empress  in  Byzantium. 

CANETTO 

All  this  is  much  as  I  imagined  it. 
These  many  years  and  more 
Since  I  have  seen  her. 
Why  has  he  spared  her? 

CAPTAIN 
Ugolino? 

CANETTO 
Why? 

CAPTAIN 
She   makes 
Men  better  for  her  strong  belief  in  man. 

[Trumpet  without. 

CANETTO 

That  will  be  Ugolino,  now. 

CAPTAIN 
I'll  welcome  him. 

[The  CAPTAIN  rises  again  and  goes  towards  the 
door.] 

CANETTO 

No,  wait.    Someone  is  coming. 

[He  points  towards  the  door.    MARIA  enters. 

CAPTAIN 
You  return, 
Maria,  from  the  village? 

MARIA 
Captain,  yes. 


ACT  i]  SWORDS  39 

CAPTAIN 
Go  to  Madonna,  then. 

MARIA 

[Breathless  with  news. 
They  say  the  Emperor 
Has  been  defeated. 
In  the  public  square 
We  have  been  singing  .  .  .  and  the  hermit  preached. 

CAPTAIN 
Why  did  you  sing? 

MARIA 

Folk  should  rejoice.    And  all  the  burghers  came 
Down  from  the  city  and  shook  their  spears 
Against  this  castle. 
Folk  don't  like  the  master.    Then  he  came. 

CAPTAIN 
Ugolino? 

MARIA 

M-m,  and  scattered  them. 
And  there's  a  tale  afoot  to  say 
That  he  will  take  Madonna  Fiamma 
Away  with  him  tomorrow. 
It  is  not  true,  good  Captain? 

CAPTAIN 
Oh,  I  hope 
It  is  not  true. 

MARIA 

And  then  the  master 

Called  for  a  boat  and  followed  me  across. 
But  I  made  better  speed. 

CAPTAIN 
Go  up  ...  go  up,  Maria. 


40  SWORDS  [ACT  I 

MARIA 

They  say  the  wars  are  ended 

The  people  dance  and  everyone  eats  cakes. 

It's  very  gay. 

CAPTAIN 
No  doubt. 

MARIA 

You  do  not  think. 
Madonna  must  go  with  them? 

CAPTAIN 
With  them? 

MARIA 
Sure, 

Being  the  Emperor's  men, 
They  cannot  linger  here. 
They  say  an  army's  on  march  from  Rome. 

CAPTAIN 
Madonna  will  be  waiting  for  her  silks. 

MARIA 

\("    Yes,  Captain  ...  Yes  ... 

[She  disappears  through  the  door  of  FIAMMA'J  cham 
ber.  As  she  opens  it,  the  place  is  seen  as  light 
and  color.  It  grows  darker.  Another  trumpet 
sounds.] 

CANETTO 

And  so  with  silks 
We  while  away  Madonna's  time. 
She  who's  Damiano's  wife, 
Damiano  who  destroys  us 
And  drives  the  Emperor  from  Italy.  .  .  . 

[Turns  suddenly  with  a  snarl  on  the  CAPTAIN. 
You  fool,  you  swine,  you  lout!     If  I 
Should  put  you  to  the  rack  .    .   . 


ACT  i]  SWORDS  41 

[The  CAPTAIN'S  calm  restores  CANETTO  to  himself. 
For  all  his  victory, 

Damiano  shall  not  have  a  hair  of  her. 
Go,  greet  your  master  properly. 

[The  CAPTAIN  goes. 

[CANETTO  glares  after  him  for  a  moment. 
Madonna's  silks! 

[He  softens.    Another  trumpet  sounds.    He  smiles 
to  himself  and  listens  at  the  door.     He  swings 
about  abruptly  and  bounds  up  the  stairs  to  Fi- 
AMMA'S  door.     His  hands  seem  to  sink  into  its 
panels,  his  breath  is  hot  against  it,  he  speaks  in 
a  strained  whisper.} 
Fiamma,  three  men  have  loved  you, 
Your  husband  and  my  master  and  myself  .  .  . 
Which  of  us  will  you  love 
To-morrow? 

CAPTAIN 

[Off  stage. 
Fall  in,  men! 
Attention! 
Front! 

Lord  Baron  Ugolino, 
I  welcome  you. 

UGOLINO 

[Crying,  off  stage. 
Fiamma  1     Fiamma ! 

[CANETTO  has  just  time  to  turn  and  welcome  his 

master.] 

[Whereupon  UGOLINO  enters  gorgeously.  His  mail 
glitters  like  silver.  He  wears  a  magnificent  mantle. 
Jewels  shine  at  his  throat  and  in  his  belt  and  his 
head  is  bare  so  that  his  fair,  curling  hair  falls  to 
his  shoulders.  He  is  a  northern  type,  a  physique 
of  great  strength,  a  face  of  beauty  ravaged  by 
dissolute  living.  He  is  still  young.  He  is  ac- 


42  SWORDS  [ACT  i 

companied  by  two  guards  dressed  in  the  colors 
of  the  Emperor  with  the  black  lion  on  their  chests. 
One  of  these  carries  his  master's  sword,  the  other 
his  helmet.} 

[UGOLINO  comes  quickly  centre  as  though  he  did 
not  see  anyone  in  the  gloom.  The  guards  advance 
slightly.  The  light  of  torches  shines  through  the 
open  door.} 

UGOLINO 

[His  authority  vanishing.    He  is  only  weary  and 

distraught.} 
Oh,  Canetto,  mine. 
I  have  such  need  of  counsel. 

[He  pauses  and  his  eyes  turn  to  FIAMMA'S  door. 
Fiamma.  .  .  .  Fiamma.  .  .  . 

CANETTO 
Master,  you  said 
That  you  had  need  of  counsel? 

UGOLINO 

I  said?    What  matter  I  said? 
Canetto,  have  you  seen  her? 

CANETTO 
Seen  whom,  dear  master? 

UGOLINO 
Fiamma.  .  .  . 

CANETTO 
No. 

UGOLINO 
No?  ...  No. 

You  are  right,  Canetto. 


ACT  i]  SWORDS  43 

CANETTO 
You  come  direct  from  Rome? 

UGOLINO 
From  Rome. 

CANETTO 
I,  too.  .  .  . 

UGOLINO 

I  have  seen  the  towns'  processions  with  their  banners: 
I  have  seen  martyred  saints  to  sicken  me 
Flung  on  the  air  from  battlements  and  towers, 
And  girls  that  dance  with  garlands, 
And  nobles  kissing  burghers  in  the  streets, 
And  I  have  heard  the  crowds 
That  howl  hosannahs  of  thanksgiving 
To  celebrate  our  defeat.  .  .  . 
I,  the  leader  of  the  Ghibellines, 
/  was  in  flight  before  them! ! ! 

CAPTAIN 
Ah! 

CANETTO 

There  is  no  wrath  abroad. 
But  only  joy  more  terrible  than  wrath, 
Against  such  joy  we  are  the  drifting  smoke 
Before  the  winds  of  May. 

UGOLINO 
We  must  make  haste,  Canetto. 

CAPTAIN 

You  came  here  unmolested, 
Master? 

UGOLINO 

No.  .  .  .  One  excellent  encounter. 
Behind  the  hills. 


44  SWORDS  [ACT  i 

Yonder. 

They  ambushed  us.  ... 

Two  score  of  them — or  more. 

I  do  not  rightly  know, 

My  sight  was  blinded  by  their  festivals 

That  I  had  seen  along  the  road. 

I  sent  them  squealing. 

My  horse's  hooves  were  gummed  with  them. 

Their  blood  spattered  my  hair. 

CAPTAIN 
The  Pope's  men? 

UGOLINO 
Damiano's. 

CANETTO 
Was  he  there 
To  lead  them? 

UGOLINO 

He's  in  Rome.  <  .  . 
Damiano  is  in  Rome.  .  .  . 
He  whispers  to  the  Pope,  .  .  . 

[His  eyes  are  now  fixed  once  more  upon  the  door  of 

FIAMMA'S  chamber.] 
The  Pope  has  sent 
To  bid  me  give  her  up. 

[Almost  a  cry  of  pain. 
Oh,  I  can't  live  and  give  her  up! 

CANETTO 
I  do  not  think  Damiano  is  in  Rome. 

UGOLINO 
I  know  he  is. 

CANETTO 

He  will  have  left  by  this. 


ACT  i]  SWORDS  45 

Master  I  crave  your  leave 
To  speak  alone  with  you. 

UGOLINO 

Go,  all  of  you.  .  .  .  Canetto  has  command. 
Put  down  my  sword. 

[The  guard  lays  the  sword  upon  the  table. 

CAPTAIN 

And  it  is  true,  we  leave 
The  castle  in  two  days? 

CANETTO 

Await  me  in  my  closet,  Captain.  .  .  .  Go. 
Directly  thither.    I  shall  come  to  you. 
Captain,  double  the  guard! 

CAPTAIN 
My  Lord.  .  .  . 

[He  goes.    The  GUARD  follows.    CANETTO  and  UGO 
LINO  are  alone  together.} 

CANETTO 

[Looking  after  them. 
My  worthy  Captain,  living,  you  shall  not 
Escape  my  sight. 

UGOLINO 
But  he  is  faithful.  .  .  .'•'• 

CANETTO 

He  has  known  Fiamma. 

She  is  like  the  summer  sun. 

She  shines,  and  in  an  hour 

The  flower  of  man's  loyalty  is  withered.  \  — -^ 

In  all  the  armies  of  the  Guelfs 

There  is  no  sword  so  perilous  as  her  smile. 


46  SWORDS  [ACT  i 

And  I  grow  curious  to  learn 

How  this  may  be. 

For  I  have  never  seen  her. 

Only  a  glimpse.  .  . 

So  long  ago. 

UGOLINO 

A  glimpse  were  not  enough  to  fathom  her, 
As  you  will  learn,  Canetto. 

[His  discouragement  shakes  him.     His  eyes  again 

turn  to  the  door  of  FIAMMA'S  room.] 
Fiamma!     The  flame 
That  scorches  up  my  spirit. 
What  has  she  done  to  me? 
I  have  been  strong  .  .  .  before.  .  .  . 
Am  I  a  weakling  now? 
She  saps  the  power  of  my  arms,  she  saps 
My  strength  and  all  my  will. 
Three  times  I  have  come  here  to  her  and  three 
Times  gone  away  again,  repulsed. 
Only  her  eyes! 
They  are  enough! 

Oh,  when  I  fight,  I  see  them  then,  and  then 
My  heart  turns  weak  and  sick. 
What  has  she  done  to  me? 
Honor  or  shame,  what  do  they  mean,  Canetto? 

[A  desperate,  hysterical  laugh  breaks  from  his  lips. 
I  have  forgotten. 

CANETT& 

[He  has  listened,  his  eyes  upon  his  master,  con 
tempt  on  his  lips.  Now  he  will  bring  the  con 
versation  to  his  ends  once  more.] 

Honor  or  shame?    Who  knows  what  they  may  be? 

Meantime, 

We'll  keep  the  Captain  in  our  company. 


ACT  i]  SWORDS  47 

UGOLINO 
I  shall  trust  none  of  them  but  you. 

CANETTO 

I  do  not  think  Damiano  is  in  Rome.  .  .  . 
Master,  I  am  quite  certain  he  will  come, 
Here.  .  .  to  this  island.  .  .  and  this  very  night. 

UGOLINO 
How  do  you  know? 

CANETTO 

My  eyes,  Master,  my  ears,  my  sense  of  touch 
And  various  other  things. 

UGOLINO 
And  if  he  come? 

CANETTO 

My  plans  are  fashioned  in  a  close  mosaic. 
I  hold  the  little  stone  of  his  escape, 
But  I  can  find  no  place  to  fit  it  in. 

UGOLINO 
How  will  it  be? 

CANETTO 

How  will  a  sea-gull  light  upon  a  wave? 
Throw  food,  and  watch.  .  .  . 

UGOLINO 
Throw  food? 

CANETTO 

He  knows  you  have  another  hostage.  .  .  .  now.  .  .  . 

UGOLINO 
Another  hostage?    Whom? 


48  SWORDS  [ACT  i 

CANETTO 
His  son,  Fiorenzo. 

UGOLINO 
Ohl  Canetto! 

CANETTO 

I  was  not  idle  while  I  stayed  in  Rome, 

I  sought  ...  I  found  ...  I  stole  ...  his  little  son.  .  .  . 

Madonna  Fiamma's  son  ...  where  he  was  hidden. 

UGOLINO 
Where  is  the  child? 

CANETTO 

Here  in  this  castle  serving  me  as  page.  .  .  . 

Is  it  not  comical? 

I  think  that  I  may  give  him  to  Madonna. 

It  were  expedient  means 

To  win  her  to  your  ends  and  to  prevent 

Her  plans  of  rescue. 

[Even  CANETTO  must  smile  at  this  and  glance  at 
the  door.} 

UGOLINO 
You  do  not  know  how  strong  she  is,  Canetto.  .  .  . 

CANETTO 

Must  you  be  weak?     Take  her  or  ...  kill  her  .  .  . 
Master. 

UGOLINO 

Belike  I  shall  kill  her  some  day. 

[Trumpets  without  and  enter  the  CAPTAIN  and  a 
SOLDIER.] 

CAPTAIN 

Begging  your  pardon,  Master, 
Here's  a  messenger  from  Rome. 


ACT  i]  SWORDS  49 

UGOLINO 
My  man? 

CAPTAIN 
A  nuncio  from  the  Pope. 

UGOLINO 
These  Guelfs 
Are  thirsty  for  our  blood  1 
Dare  we  refuse  him  entrance? 

CANETTO 
Is  he  alone? 

[CAPTAIN  looks  to  the  SOLDIER  to  speak. 

SOLDIER 

There  is  one  other  with  him. 
The  townsfolk,  too,  are  coming  in  their  boats. 

UGOLINO 
This  is  my  house — my  house! 

CANETTO 

Good  master,  pray 
Take  counsel  of  me  now. 

[To  the  CAPTAIN. 
Bring  in  the  messenger 
And  quickly.  .  .  . 

[The  CAPTAIN  and  the  SOLDIER  go  out. 

UGOLINO 
He  is  come  for  her. 

CANETTO 
But  will  go  hence  with  empty  hands. 

UGOLINO 

You  are  my  wits,  you  are  my  eyes,  Canetto.  V~ 
And  all  my  judgments. 


And  .  .  .  afterwards  .  .  .  your  woman. 


50  SWORDS  [ACT  I 

CANETTO 

Now  I  promise  you, 
For  that  fair  tribute, 
This  very  night  of  nights  you  shall  attain 
Your  two  desires.  .  . 
Your  vengeance  on  your  enemy  in  blood, 

UGOLINO 
Canetto! 

CANETTO 
[On  his  toes,  exultant,  strangely  and  thrillingly 

young.} 

Oh,  love,  headlong,  vehement, 
You  triumph  over  reason,  over  shame, 
And  hold  them  impotent,  and  you  possess 
The  heart  and  tongue  and  vision  of  a  man 
And  you  exact  his  martyrdom  and  laugh! 

[The  last  lines  have  rung  out  over  trumpets  pro 
longed  and  a  subdued  turmoil  off-stage.  At  the 
end  the  NUNCIO  enters,  preceded  by  the  CAP 
TAIN  and  followed  by  two  of  UGOLINO'S  soldiers, 
with  lighted  torches.] 

[The  NUNCIO  is  a  churchman,  not  so  old  as  the  CAP 
TAIN.  He  wears  the  clothes  of  any  horseman  ex 
cept  for  the  necklace  and  insignia  of  his  ecclesi 
astical  position.] 

CANETTO 
Your  Grace  is  welcome.  .  .  . 

NUNCIO 

Which  one  of  you  may  be 
The  Baron  Ugolino? 

CANETTO 
Here  is  my  master. 


ACT  i]  SWORDS  51 

NUNCIO 

My  business  is  with  you. 

[He  draws  a  parchment  scroll  from  his  cloak  and 
holds  it  toward  the  surly  UGOLINO.] 

UGOLINO 
Canetto,  read. 

[CANETTO  snatches  the  scroll. 

NUNCIO 

[His  hand  to  his  sword. 
Canetto? 

[CANETTO  smiles ,  bows,  and  opens  scroll. 
Sir,  you  are  bold 
To  speak  to  me. 

CANETTO 
As  you 

To  enter  here,  your  Grace.  .  .  .  But 
This  is  no  rat  trap  set  for  clergymen.  .  .  . 
Were  you  sent  by  Damiano? 

NUNCIO 
By  His  Holiness. 

CANETTO 
It  is  the  same. 

[To  UGOLINO. 
The  usual  demand. 

UGOLINO 
For  Fiamma? 

CANETTO 
Shall  I  make  answer,  Master? 

UGOLINO 
Yes. 

CANETTO 

Go  back  again  to  Rome.  .  .  . 
Fiamma  is  Ugolino's  hostage  still, 


52  SWORDS  [ACT  i 

Who  ever  comes 

In  ten  days  time  to  Trent, 

Upon  the  border  of  the  north, 

Madonna  Fiamma  will  await  him  there, 

But  thither  she  must  go  with  us. 

NUNCIO 
My  lord, 
You  send  this  answer? 

UGOLINO 
Yes. 

NUNCIO 

And  you  receive. 

The  messenger  of  the  Pope  so  easily 
Your  servant  answers  him? 

UGOLINO 
Yes.  ...  Yes.  ... 

CANETTO 

These  days  along  the  roads  of  Italy 
Fiamma  will  give  protection  more  worth  while 
Than  any  word  of  any  Pope. 

NUNCIO 
I  warn 
You,  Baron  Ugolino. 

UGOLINO 
IVe  heard  enough. 

[Increasing  commotion  in  the  distance  and  cries. 

CANETTO 

Safety,  my  friend,  that  is  the  question  now. 
You  know  our  situation. 
We  ride  tomorrow.    Say  so  to  the  Pope.  .  .  Vsv 
Madonna  Fiamma  is  unhurt  and  goes 
Willingly  to  the  border, 
And  bids  Damiano  send  to  Trent  for  her. 


ACT  i]  SWORDS  58 

NUNCIO 
If  I  demand  a  word  with  her. 

CANETTO 
Your  Grace, 
I  must  refuse.    My  word  is  all. 

[Commotion  without  louder. 

NUNCIO 

The  fisherfolk  and  villagers 

Know  of  your  plan.    You  will  not  pass 

With  Fiamma. 

CANETTO 

I  stake  my  sword  against  a  fisher's  net 
At  any  time. 

NUNCIO 

I  am  the  vicar  of  the  vicar  of  Christ.  .  .  . 
You  do  assail  a  greater  word  than  mine. 

CANETTO 
I  proffer  you  a  cup  of  wine,  your  Grace. 

NUNCIO 
Which  I  refuse. 

CANETTO 

[Having  filled  one  glass,  lifts  it. 
We  must  each  profit  as  we  may  and  each 
One  yield  his  tribute  to  the  other's  state. 

[He  drinks. 

[JACOPONE    has    entered    and    whispered    to    the 
Captain.] 

NUNCIO 

I  shall  return  more  forcefully. 


54  SWORDS  [ACT  i 

CANETTO 
Your  Grace.  .  .  . 

Delivering  your  answer  to  the  Pope, 
Say  that  you  had  a  courteous  reception. 

NUNCIO 
A  moment's  parley  with  Madonna  Fiamma? 

CANETTO 
You  deserve  credit  for  persistence,  sir. 

CAPTAIN 

Here  is  a  delegation 
Of  village  folk  and  burghers 
Concerned  for  Fiamma, 
Demanding  that  no  harm 
Shall  come  to  her. 

UGOLINO 
Send  them  away! 

CANETTO 
A  moment,  Master.  .  .  . 

[/I  moment  of  thought. 
Your  Grace,  I  reconsider. 

CAPTAIN 
You  know  how  many  men  I  have. 

CANETTO 
And  they? 

CAPTAIN 
Some  hundreds  in  their  boats. 

NUNCIO 
I'll  call  to  them. 

CANETTO 

And  calling  take  your  leave  of  life. 
Desperate  men  chastise  their  enemies 


ACT  i]  SWORDS  55 

With  prompt  decision  .  .  . 

How  numerous  the  delegation,  Captain? 

CAPTAIN 
Eight. 

CANETTO 
Why,  then, 
Madonna  Fiamma  will  receive  them  here. 

UGOLINO 
No! 

[CANETTO  motions  to  JACOPONE  who  goes  to  obey 
the  order.} 

CANETTO 

You  see  how  well  defeated  men  may  learn 

To  bow  before  the  dictates  of  defeat. 

An  Emperor  bows  before  a  Pope, 

A  Ghibelline  before  a  Guelf. 

Now  you  may  speak 

With  Fiamma,  though  I  said  you  nay 

A  moment  since.    We  drink,  your  Grace,  to  peace 

Restored,  to  battle  fronts  not  yet  aligned, 

To  armies  not  yet  raised.  .  .  . 

[He  drinks.     The  hubbub  is  just  off  stage. 

Master,  here  are  your  loyal  subjects. 

[First  one,  a  burgher  with  a  short  spear,  then  two 
farmers  and  a  fisherman  with  clubs,  then  three 
women  and  a  boy,  enter.  Guards  follow  them. 
Other  guards  stand  in  the  passage.] 
[It  has  grown  much  darker.  The  tower  is 
with  the  twilight.  The  figures  in  the  foreground 
are  lighted  only  by  the  fitful  glare  of  the  firelight. 
The  window  shines,  a  black  arched  radiance  of 
violet  sky.  Very  softly,  as  from  a  great  distance, 
borne  on  a  wind  that  falls  and  rises,  the  first  bells 
of  vespers  come  over  the  water.] 


'   ! 

'  \ 
J 


56  SWORDS  [ACT  i 

A  MAN 
Madonna  Fiamma!     Madonna  Fiammal 

ANOTHER 
Queen.  .  .  . 

A  WOMAN 
Oh,  gracious  lady.  .  .  . 

A  THIRD  MAN 
Protector  of  the  catch.  ... 

ANOTHER  WOMAN 
Lady  of  Consolation.  .  .  . 

CANETTO 

Draw  back,  my  lord,  it  were  the  safer  course 
They  should  not  see  you  in  this  mood  of  theirs. 
Draw  back  and  watch.  .  .  . 

VARIOUS  CRIES  FROM  THE  CROWD 

Madonna  Fiamma  .  .  .  speak  to  us,  Madonna.  .  .  . 
Oh,  come  and  speak  to  us  and  bend 
Your  face  upon  our  faces  .  .  .  Here  .  .  .  and  here, 
Madonna  Fiamma.  .  .  .  Listen  to  our  need.  .  .  . 
Madonna  Fiamma,  do  not  leave  us.  ... 
We  have  come,  Madonna,  we  have  come 
To  offer  you  protection. 
You  shall  not  go  away  against  your  will.  .  .  . 
The     Emperor    has     fallen.  .  .  .  Fiamma.  .  .  .  Fiam 
ma.  .  .  . 

Madonna,  star  of  evening  on  the  sea.  .  .  . 
Oh,  little  plant  that  we  have  loved.  .  .  . 
Madonna  Fiamma.  .  .  . 

[The  bells  are  louder.     Very  slowly  the  door  of 
FIAMMA  *s  chamber  swings  open  and  we  see  her. 


}  , 


ACT  i]  SWORDS  57 

A  sigh  goes  up  at  her  appearance.    The  peasants 
fall  on  their  knees.] 

[If  we  have  ever  stood  in  a  great  gothic  church  of 
Northern  France  and  looked  down  the  length  of 
the  nave  at  the  apse  window  which  glorifies  the 
Virgin  Mary,  we  shall  think  of  that  moment  in 
this  first  glimpse  of  FIAMMA.  Indeed,  she  is  very 
J  like  the  Virgin  of  some  glowing  window  when  the 
sun  is  bright  behind  it.  She  stands  against  the 
light  and  color  of  her  chamber.  Her  beautiful 
head  is  held  very  high.  She  is  queenly.  But  she 
is  kind,  too.  Her  eyes  and  hands  say  so.  And 
she  is  not  quite  as  other  women.  There  is  an 
aura  about  her  head  and  all  the  splendor  of  her 
dress  seems  to  smile  upon  the  darkness  of  the 
tower.  She  advances  slowly  to  the  head  of  the 
stair.] 

UGOLINO 
Oh,  see.  .  .  . 

CANETTO 
Hush.  .  .  . 

UGOLINO 

Fiamma.  .  .  .  Fiamma.  .  .  . 

[These  are  whispers  above  the  complete  silence  of 
the  moment. 

CANETTO 

A  meditative  sorrow.  .  .  . 
How  beautiful  she  is! 

UGOLINO 

Is  she  not  beautiful,  Canetto?    Like 
The  Virgin  Mary  in  her  queenliness.  .  .  . 
And  she  is  just  and  altogether  human.  ... 

CANETTO 
She  is  a  woman.  ...  \. 


98  SWORDS  [ACT  i 

A  MAN 
Lady  of  Glory  .  .  .  lady  of  mystery.  .  .  . 

A  WOMAN 
Madonna,  say  you  will  not  leave  us.  .  ;  V  ' 

FIAMMA 

[She  does  not  answer.  She  has  come  partly  down 
the  stair  and  the  strange  light  of  her  pres 
ence  seems  still  to  shine  about  her.  She  looks 
down  upon  the  speakers  and  smiles. } 

A  MAN 

We  shall  save  you,  Madonna.  .  .  . 

We  shall  save  you,  from  them.  .  .  . 

We  shall  bring  the  hermit  here  to  lead  us.  ... 

FIAMMA 

[Her  head,  her  armsf  something  about  her  seems  to 
say  that  there  is  no  need.} 

A  WOMAN 

See,  Madonna,  see.  .  .  . 
My  son  can  walk  again.  .  .  . 
You  prayed  for  him  ...  he  walks  again,  Madonna. 
Oh,  thank  you,  bless  you.  .  .  . 

FIAMMA 

[  She  sees  and  is  glad. 

ANOTHER  WOMAN 

[Coming  forward  with  her  baby  wrapped  like  the, 

bambini  of  della  Robbia.} 
Pray  for  him,  too,  Madonna,  he  is  sick.  .  .  . 
He  is  so  little.  . 


ACT  i]  SWORDS  39 

FlAMMA 

""'! 

[She  takes  the  child  in  her  arms,  for  she  has  come 
to  the  foot  of  the  stair  now.  The  WOMAN  kneels 
at  her  feet.  She  holds  the  child  tenderly  and 
prays.} 

NUNCIO 

This  is  mystery  .  .  . 

She  stands  upon  the  silver  threshold.    She 

Is  marvellous  and  admirable.  .  .  . 

Madonna  Fiamma, 

I  am  come  to  you  from  the  throne  of  Peter, 

I  have  seen  a  wonderful  thing  here, 

I  have  seen  peace  and  beauty  and  reverence  .  .  -. 

I  am  the  church,  Madonna,  and  I  kneel 

Reverently  at  your  feet.  .  .  . 

FIAMMA 
[She  turns  and  looks  at  him. 

NUNCIO 

You  will  be  saved,  Madonna.  .  .  . 
You  will  be  saved,  tomorrow.  .  .  . 
Men  will  come  fighting  if  need  be. 

FIAMMA 
[Does  something  frighten  her?    It  seems  so. 

A  MAN 

We  will  save,  you,  Madonna  Fiamma.  .  .  . 

We  the  burghers  of  the  city  will  save  you.  .  .  . 

We  will  come  with  the  weapons  of  our  masters 

And  break  the  gates  apart, 

And  you  will  live  forever  in  our  midst 

And  make  our  city  whole  and  sweet. 


60  SWORDS  [ACT  i 

FIAMMA 
[She  smiles  now  and  shakes  her  head. 

WOMAN 

What  does  it  matter  if  our  men 
Perish  for  you,  Madonna? 

FIAMMA 
[Her  hand  goes  toward  the  woman  in  protest. 

A  MAN 

The  while  we  live  there  can  no  peril  come 
To  frighten  you.  .  .  . 

A  MAN 
Command  us.  ... 

ANOTHER 
Speak  your  will  to  us.  .  .  . 

ANOTHER 
Speak,  Madonna  .  .  .  what  is  your  will.  .  .  * 

NUNCIO 

\  Spring  of  all  mercies,  beacon  of  all  glories, 
/^Fountain  of  all  restoring  strength, 
/  Word  of  all  wisdom.  .  . 

\k 

FIAMMA 

[Became  at  this  moment  the  wind  seems  to  have 
strengthened  again,  the  vespers  bells  are  louder. 
She  lifts  her  hand  for  silence,  then,  in  her  low, 
vibrant  voice,  she  intones  the  Pater  Noster  in 

Latin.     After  the   first  twn  nr  thrpp.  bhrntpM    the 


Latin.  After  the  first  two  or  three  phrases,  the 
peasants  and  the  NUNCIO  follow  her  and,  later, 
the  guards,  the  last  of  whom  to  stand  falls  on  his 
knees  as  the  curtain  descends  very  slowly.] 


THE  SECOND  ACT 

The  curtain  rises  again  as  soon  as  may  be.  The  scene 
and  situation  are  unchanged,  the  action  has  not  been 
interrupted. 

FIAMMA 

[The  prayer  finished,  she  looks  once  intensely  over 
the  kneeling  peasants,  lifts  her  hand  in  a  blessing 
and  farewell  and  turns  very  slowly  to  go  up  the 
stair  to  the  window.} 

[One  by  one  the  peasants  rise  to  their  feet.  They 
seem  completely  calmed.  One  or  two  of  them,  in 
pantomime  seem  to  beg  FIAMMA'S  leave  to  rescue 
her.  One  or  two  threaten  the  soldiers  with  their 
fists.  They^  murmur  about  the  hermit  and  say 
to  one  another,  "He  must  be  fetched  to  speak  with 
herr  They  go.} 

MARIA 

[Who  has  come  down  the  stair  from  FIAMMA 7s 
room,  urges  the  peasants  off.] 


She  would  not  have  your  suffering  on  her  heart. 
You  hurt  her  when  you  ask  her. 
Go.    You  will  make  her  weep. 

CANETTO 
Be  very  certain 

Damiano  will  come  here  tonight, 
Master. 

UGOLINO 
Why  then? 

61 


62  SWORDS  [ACT  n 

CANETTO 
You  have  the  pair  of  them. 

UGOLINO 
She  is  worth  more  than  vengeance. 

CANETTO 
Go  quickly,  now, 
And  make  no  sound  at  all.    I'll  speak  with  her. 

[UGOLINO  protests  in  pantomime. 
Give  me  a  little  time.    I  guarantee 
She  shall  grow  amiable. 
Do  you  attend  the  Nuncio. 

[UGOLINO  goes  after  the  NUNCIO,  his  last  look  at 

FIAMMA. 

[As  CANETTO  stands  beside  the  fire,  his  dark  cloak 
drawn  about  him,  he  seems  almost  a  part  of  the 
arras.} 

[ FIAMMA  stands  in  the  gallery,  now,  her  lovely  head 
silhouetted  against  the  luminous  twilight  sky. 
The  bells  continue  faintly  and  do  not  cease  en 
tirely  until  CANETTO  speaks  to  her  later The. 

interior  of  the  tower  is  becoming  more  and  more 
exquisitely  blue.  .  The  single  bright  light  in  the 
scene  is  the  shrine  beside  the  door  of  FIAMMA'S 
chamber.] 

FIAMMA 

The  scent  of  seaweed  weighs  the  warm,  sweet  air,        ^/ 

Lonely  and  beautiful,  the  hush  of  dark  ^ 

Descends  on  all  created  life, 

Another  day  is  gone  behind  the  hills, 

Another  wind  is  silent  on  the  sea. 

I  hear  you,  bells  of  vespers,  and  I  know 

The  eloquence  of  destiny  is  loud 

In  your  deep  voices; 


ACT  H]  SWORDS  63 

Your  benediction  shares  its  peace  with  me 
And  leaves  me  strong  to  breathe 
The  infinite  beatitude  of  night; 
And  blessed  beauty  glistens  on  the  world 
And  on  my  hair  and  lips  and  hands  and  eyes 
Like  dew  upon  the  flowers  of  the  dawn, 
Like  April  on  the  yearning  of  the  earth 
With  tears  of  life  that  comes  again  to  life 
Rebuilded  and  renewed. 

MARIA 

I  go  to  watch,  Madonna. 

I  know  it  cannot  fail  tonight, 

Just  at  the  change  o'  the  watch, 

Just  as  you  planned  it. 

Ah,  Damiano  said, 

"How  crafty  is  my  Fiamma 

To  know  when  men  are  sleepiest!" 

FIAMMA 

[Without  turning  from  her  contemplation  of  the 

evening  sea.] 
Ah,  he  said 
That  I  am  crafty? 

MARIA 

Are  you  not,  Madonna? 

FIAMMA 

I  do  not  think  so.    Only  wise 
As  women  may  be. 

V^     ^ m      _  M|    „    ,-  _        j         -._.  --    .     •      _.ir- 

MARIA 

Be  of  good  cheer,  Madonna. 
Tonight  is  sure. 

[MARIA  goes  directly  out. 


64  SWORDS  [ACT  n 

FIAMMA 
Oh,  Damiano, 
We  shall  remember,  afterwards,  these  months 
Of  my  captivity  and  your  wandering 
As  a  time  after  illness  that  has  been 
Wherein  we  gathered  strength  again  for  life 
Together,  strength  for  faith, 
Each  in  the  other  .  .  . 
Stars  who  bear  witness  to  my  weariness 
Bring  us  together  once  before  we  die, 
I  was  not  born  for  loneliness,  my  youth 
Is  almost  gone.    Before  it  passes  quite, 
Bring  him  again  to  me  ...  tonight  .  .  .  you  stars.  .  .  . 
[Perhaps  the  wind  rises  once  again,  perhaps  the 
Host  is  elevated  in  some  chapel  on  the  shore,  for 
the  bells  swell  out.    FIAMMA  drops  her  head  in 
prayer.} 

CANETTO 

[Coming  forward. 
Madonna.  .  .  . 

FIAMMA 
You,  Maria? 

CANETTO 

The  dark  falls  swiftly  on  the  sea,  Madonna. 

[FIAMMA  turns  and,  for  the  first  time,  notices  CA 
NETTO.  She  comes  to  the  edge  of  the  gallery 
and  looks  down  upon  him.  The  fire  has  flared  up.] 

CANETTO 

Will  you  come  down  to  me? 
A  sea  bird,  balanced  on  distended  wings 
Might  float  into  your  reverent  seclusion 
And,  by  comparison  with  your  fair  grace, 
Seem  a  distorted  and  obnoxious  thing. 
Shall  I,  who  am  a  graceless  man, 


DESIGN   ion  THE  SCENE  HY  ROBERT  EDMUND  JONES 


"YOU  SHALL  BE  MY  I'HOTECTOH  NOW!" 


Photo  by  Abbe 


ACT  11]  SWORDS  <55 

Bred  in  the  rough  adventure  of  the  world, 
Who  only,  humbly  sue  the  privilege 
Of  a  brief  word,  Madonna,  desecrate 
The  shrine  your  presence  sanctifies? 

FIAMMA 
You  speak 

Graciously,  sir.    A  prisoner 
Is  scarcely  loth  to  see  a  stranger's  face 
To  talk  a  moment's  time  beyond  confinement. 

[She  comes  down  slowly,  pausing  at  least  once  to 
look  more  closely  at  CANETTO.] 

CANETTO 

You  do  me  honor  and  I  bear  you  tidings. 
My  master,  Ugolino,  craves  permission 
To  sup  this  evening  with  you  in  your  tower. 

FIAMMA 
Am  I  to  welcome  him? 

CANETTO 

But  if  I  brought  you  other  news  of  one 
More  near  your  heart,  Madonna? 

FIAMMA 
News  of  whom? 

CANETTO 

[The  briefest  pause. 
Damiano. 

FIAMMA 
Of  Damiano? 

CANETTO 

[Nods  and  another  brief  pause. 
Who  is  dead. 


66  SWORDS  [ACT  11 

FlAMMA  Kl 

Damiano  who  is  ...  dead?    I  must  have  proof     / 

Of  that.     I  do  not  think 

Damiano  could  have  died  and  I  not  know. 

I  think  his  passing  spirit  in  the  air 

Would  have  come  here  to  whisper  me  farewell. 

CANETTO 
How  if  I  give  you  proof? 

FlAMMA 

The  word  alone 

Inspires  me  with  no  terror.    I  have  seen 
A  deal  of  death  and  had  my  heart  and  mind 
Begirt  with  horror. 

CANETTO 

[He  displays  the  emeralds. 

^)  These  are  the  emeralds  which,  I  know  not  how, 
Came  from  this  tower  to  his  hands. 

FlAMMA 

See  how  they  lie  there,  limply,  yet  so  hard! 
How  bright  they  are!    It  is  as  though  you  dipped 
A  cup  of  water  from  the  deepest  sea 
And,  in  your  hand,  congealed  it. 

CANETTO 
Do  you  know  them? 

FlAMMA 

Do  you  say 

My  husband,  dying,  sent  them  to  me? 

CANETTO 
Yes. 

FlAMMA 

I  am  not  readily  credulous  of  sorrow. 


ACT  ii]  SWORDS  67 

CANETTO 
Alas,  that  I  am  sorrow's  messenger! 

FlAMMA 

Do  you  know  me,  sir? 

I  am  that  Fiamma,  of  some  fame, 

Once  on  a  time,  who  followed  the  Crusades 

And  reigned  as  Empress  in  Byzantium. 
C\  have  long  floated  upon  turbulent  waters, 
I  So  long,  these  very  rocks, 
I  Upon  whose  scarring  surface  I  am  dashed, 
/  Seem  to  me  something  of  a  haven,  half 
\Solicitous  to  comfort  me. 

Yet  I  am  still  Fiamma. 

And  this  is  strength  to  me,  and  gives 

Me  more  than  ordinary  fortitude, 

As  if  it  were  some  special  test  of  God 

To  prove  my  spirit. 

And  you  do  wrong  to  scoff  before  your  time; 

These  emeralds  are  no  property  of  yours, 

But  of  a  certain  Spanish  Jew  in  Rome, 

To  whom  my  husband  sold  them. 

CANETTO 
You  confess? 

FIAMMA 
Of  what  avail  denial? 

CANETTO 
You  are  brave. 

FIAMMA 

^110  meets  a  lie  with  truth  has  drawn  a  sword  ^1  "^T 
pon  a  man  unarmed.  ' 

CANETTO 
Am  I  outwitted? 


68  SWORDS  [ACT  n 

FlAMMA 

I  do  not  know  the  measure  of  your  wits. 
(I  only  know  the  arms  of  honesty 
\£re  long.    It  may  be  you  are  overreached, 
Messire  Canetto. 

CANETTO 

[He  looks  upon  her  with  unfeigned  admiration. 
I  cannot  lie 

Successfully  to  you,  it  seems.    You  know 
Too  much  of  me  ... 
/  will  cast  paltry  things  aside, 
Truth,  yes,  and  honor  too 
(Of  men,  not  women), 
And  send  them  whistling  down 
To  splash  the  offal  of  the  silly  world. 

FlAMMA 

It  is  so  long  since  I  have  laughed.    I  looked 
To  find  a  mighty  villain,  sir,  in  you  .  .  . 
I  find  a  boastful  youth. 

[She  sits  at  the  table  and  laughs  at  him. 

i  CANETTO 

I  No  man  is  bad 

I  Enough  to  justify  his  reputation. 
/  There  you  perceive  the  cross  the  wicked  man 
x  I  Must  bear  —  that  he  is  doomed 
\Forever  to  fall  short  in  wickedness! 

[He  has  become  very  gay  and  disarming. 


FlAMMA 

Alas,  poor  sinner! 

CANETTO 

Canetto  has  become  a  pleasant  fellow, 
e  all  repentant  sinners,  still 


ACT  n]  SWORDS  69 

A  little  proud  of  sin,  a  little  fond 

Of  sinful  memories. 

There  is  no  vice  was  not  a  virtue  once! 

But  I  rejoice.    I  shall  have  found  a  friend 

Where  I  had  sought  a  victim.  )God  be  praised! 

The  bladder  has  been  pricked!     In  you,  I  meet 

My  first  antagonist.  .  .  . 

FIAMMA 
Why,  then  .  .  . 

CANETTO 

f  [Aflame. 

We'll  play      r~ 

A  while  upon  the  lips  of  death  before 
Death  swallows  us?^  I  am  a  jongleur  born 
And  bred  and  trained  and  practised.    I  have  gone 
To  Chartres  on  pilgrimage  and  acted  there 
The  Miracles  of  Our  Lady.    I  have  been 
Court  jester  to  an  emperor  and  a  king 
And  confidant  in  the  secret  ways  of  states, 
And  on  the  road  once  more  and  played  buffoon 
In  village  squares  of  France  and  Italy, 
And  sung  a  Roland  for  an  Oliver 
In  Michael's  monastery  in  the  north  .  .  . 
And  I  have  trained 
Horses  to  war  and  dogs  to  trickery 
And  thieved  and  mocked  and  loved  and  laughed  until 
My  very  livelihood  was  impudence. 

[Shrugs  his  shoulders  a  little  sadly. 
But  jongleurs  have  no  civil  rights — alas,  .  .  . 
I  am  a  man.    Man  must  have  civil  rights. 
So  I  turned  murderer  and  respectable. 
This  for  my  lord,  Ugolino, 
Whom  I  serve  as  faithfully  as  I  may, 
Half  as  lieutenant,  half  as  jester,  half 
As  privy  counsellor  and  brother  in  arms. 


70  SWORDS  [ACT  n 

And  when  we  move  about 

The  pilgrim  crowded  thoroughfares  of  Rome, 

Dressed  in  bright  scarlet,  I  ride  on  before 

And  play  my  lute, 

And  do  his  bidding  otherwise,  without 

The  least  compunction,  very  glad, 

To  have  regained  my  civil  rights,  because 

To  prance  upon  the  air 

Were  a  scant  pleasure  to  the  lookers-on. 

To  the  performer,  scanter  still,  (perhaps 

I  may  yet  die  of  palsy  in  a  bed 

And,  with  all  due  serenity,  look  back 

Upon  these  varied  images  of  myself, 

Dancing  across  the  nations  of  the  worl<}A 

FIAMMA 
[She  has  laughed  at  his  story  but  her  face  at  the 

end  is  grim.} 
Is  this  Canetto? 

[A  bow  from  him. 
Vagabond ! 

[A  deeper  bow. 
I  understand  you  now. 

[She  rises,  an  Empress. 

And  you  would  tell  me  his  great  heart  is  stilled ! 
As  if  I  should  not  know! 

CANETTO 
I  find 
Your  high  defiance  admirable.  .  .  . 

FIAMMA 
.    And  true. 

CANETTO 
You  are  proud. 

FIAMMA 
No,  very  humble. 


ACT  n]  SWORDS  71 

CANETTO 

Yet  you  frustrate  my  lord 
At  every  step. 

FlAMMA 

Your  master  is  a  soldier  of  renown, 

For  which  I  honor  him.    I  would  I  might 

Find  him  more  honorable  in  himself. 

CANETTO 
How  well  /  understand  my  master  now  I 

FIAMMA 
Why,  sir,  I  hope  you  do  ... 

CANETTO 

How  you  disarm  him  as  you  now  disarm 
My  subtle  craft,  Madonna.  .  .  . 

FIAMMA 

Are  you  crafty? 
More  than  your  clumsy  master's  tool? 

CANETTO 

Much    more  ...  as    I    might    be  ...  to    you,    Ma 
donna.   .    .    . 

[  FIAMMA  is  bitterly  amused. 
You  are  not  kind,  Madonna. 

FIAMMA 
Am  I  not? 

CANETTO 
You  are  suspicious. 

FIAMMA 
Ah,  you  guess  that,  too? 

CANETTO 
I  crave  your  confidence. 


72  SWORDS  [ACT  11 

FlAMMA 

My  confidence! 

CANETTO 
Why  not? 

What  deep  assurance  can  I  give 
To  make  you  trust  me? 

FIAMMA 
None,  I  thank  you,  sir. 

CANETTO 

Have  you  not  heard 
The  story  of  the  sinner  turned  a  saint? 

FIAMMA 
A  saint? 

CANETTO 
The  very  meat 

And  substance  of  all  Christian  doctrine! 
^  I  claim  no  halo. 

j  Good  deeds  are  out  of  fashion  nowadays, 
)  We  are  not  knights  and  ladies  anymore, 
fc  |  But  simple  men  and  women, 
\Desirable  and  desirous.^ 

[His  eyes  appraise  her.    She  shudders. 

FIAMMA 


Ah,  I  read 

The  riddle  now  .  .  . 

CANETTO 

You  read  .  .  . 

FIAMMA 

Reluctantly. 

CANETTO 

Did  you  now  know 

That  it  would  end  so? 

Are  not  these  emeralds  symbolical 

Of  such  an  ending? 


ACT  n]  SWORDS  73 

FlAMMA 

[Perturbed. 
You  are  unkind  to  mock  me. 

CANETTO 
Let  me  swear 
To  my  sincerity. 

FIAMMA 

If,  sir,  you  are  sincere,  I  do  not  lack 

In  thanks  to  you.    If  not,  I  bear  no  grudge. 

CANETTO 
And  that  is  all? 

I  am  not  fortunate  with  womankind.  .  .  . 
I  bring  you  proof  of  my  devotion.  .  .  . 

[He  pockets  the  emeralds. 

FIAMMA 
No.  ... 

CANETTO 

And  you  shall  learn  what  quality  of  service 
You  thoughtlessly  refuse. 

[Calling  out. 
Send  me  my  page! 

FIAMMA 
Have  done.  .  .  . 

[In  spite  of  herself  her  uneasiness  grows  during 
CANETTO'S  next  words.} 

CANETTO 

It  is  a  boy,  a  child  .  .  . 
I'll  rear  him  as  a  pander  or  a  knave, 
Which,  I  have  not  decided. 
He  serves  me  well  already. 
But,  for  the  present  while,  he  is  my  gift 
To  be  your  page, 


74  SWORDS  [ACT  n 

Or  what  you  will  of  him. 

[FIORENZO,  the  child,  a  boy  of  eight  or  nine  years, 
has  appeared  in  the  doorway.  He  wears  the 
motley  of  a  page.  He  halts  there,  frightened  and 
pale.] 

FlAMMA 

[A  loud  cry  of  horror. 
Ah! 

CANETTO 

[He  grasps  FIORENZO  and  drags  him  into  the  centre 

of  the  stage.] 

Do  not  cry  out,  Madonna! 
There  is  no  harm  in  him. 
I  stole  him  for  you.  .  .  . 
He's  nobly  born  and  will  therefore  become 
The  better  servant  ...  if  you  beat  him  well, 
As  I  have  beaten  him. 

[He  becomes  more  than  ever  the  strolling  player 
in  the  ensuing  scene,  dancing  and  laughing  here 
and  there  on  the  stage,  revelling  in  the  most  adroit 
jest  of  his  career.] 

FlAMMA 

[She  reels  suddenly  and  cries  out  in  very  desperate 

terror.] 
My  son  .  .  .  my  son.  .  .  . 

FIORENZO 
Are  you  my  mother? 

FlAMMA 

[She  is  on  her  knees,  her  arms  tight  about  the 

child's  neck.] 

Fiorenzo,  oh,  my  little  son,  Fiorenzo!   .  .  . 
And  in  my  prison.  .  .  .  Why? 


ACT  n]  SWORDS  75 

CANETTO 

[Quite  naturally  gleeful. 
You  ask,  Madonna? 

Accepting  him,  you  make  a  fair  exchange. 
His  life  against 

Your  splendid  liberty  of  soul.  .  .  . 
This  is  the  lever  of  your  obedience. 

FlAMMA 

For  shame  be  silent.  ...  Oh,  Fiorenzo.  .  .  . 

FIORENZO 
Mother! 

CANETTO 

[More  and  more  delighted. 
You  will  obey  no  matter  what  command. 

FIAMMA 
Leave  me  ... 

CANETTO 

When  I  ordain  .  .  . 
You  must  accept  my  ordinance  .  .  . 
Even  if  I?  .  .  .  but  time  attends  my  wish  .  .  . 
We  are  no  longer  hurried. 

FIAMMA 
You  planned  this  cleverly.  .  .  . 

CANETTO 

Oh,  this  superb  Canetto! 
Madonna  Fiamma,  am  I  not  superb? 
But,  for  the  nonce,  you  sup.  .  .  . 

FIAMMA 
Wicked! 

CANETTO 
.  .  .  Agreeably  with  my  master. 


7$ 

SWORDS 

FIAMMA 

Leave  us  ... 

CANETTO 

I  plan  .  .  . 

FIAMMA 

Leave  us,  I  say! 

CANETTO 

...  I  weave  .  .  . 

[ACT  II 


FIAMMA 

In  God's  name,  think  . 
He  is  a  child. 

CANETTO 

I  am  a  spider  in  my  web  ... 

[His  gestures  are  grotesque  and  horribly   comic. 
He  begins  prancing  about.] 

FIAMMA 
Buffoon  I 

CANETTO 

[A  shout  of  triumph. 
BUFFOON!!! 
Madonna,  so  I  am.  .  .  . 
All  hail  buffoonery!! 

Long  life  to  the  buffoon!    Bring  lights.  .  .  .  Bring  lights! 
The  mystery  is  set, 

Only  the  subject  changed.    We  might  have  played 
The  pastoral  "Flight  to  Egypt." 
What  if  we  stay  behind  in  Herod's  court 
And  watch  "The  Massacre  of  the  Innocents." 

FIAMMA 
Fiorenzo,  are  you  frightened? 

CANETTO 
Tomorrow  Germany! 


ACT  ii]  SWORDS  77 

FlAMMA 

How  long  since  you 

Have  had  your  mother  .  .  . 

CANETTO 
Let  me  bless  you  .  .  . 

FIAMMA 

You  are  grown  strong,  my  son    .  .  . 
You  shall  be  my  protector,  now  .  .  . 

FIORENZO 
Where  is  my  father? 

FIAMMA 
He  will  come  in  time.     . 

CANETTO 
There's  not  a  doubt  of  that  I 

FIORENZO 
It  is  so  dark  here.  ... 

FIAMMA 
Oh,  no,  tomorrow  will  be  gay,  my  son. 

CANETTO 

This  is  the  end,  Madonna,  of  your  hopes, 
The  rainbows  of  calamity  are  out! 
Lights  .  .  .  bring  us  lights.  ...  I'll  see 
My  triumph  brightly!   ...  for  I  meet 
My  first  antagonist  and  vanquish  her.  .  .  . 

FIAMMA 

[Furiously. 
Call  me  my  woman  here.  .  .  . 

[A  commotion  is  audible  in  the  castle.    AMINA  en 
ters  bearing  two  tapers.    She  sets  them  in  stands 


78  SWORDS  [ACT  11 

upon  the  table  looking  curiously  at  the  child  and 
the  kneeling  FIAMMA.  A  SOLDIER  comes  with  a 
torch.} 

CANETTO 

Maria,  hither! 

Your  mistress  calls  you!     Lights! 

FIAMMA 
Oh,  God,  I  cry  to  You  for  justice.  .  .  . 

CANETTO 

•bedience,  Madonna.  .  .  . 
.emember  the  stem  word.  ... 

FIAMMA 
ou  beast  .  .  .  you  thief  .  .  .  you  coward.  .  .  . 

^^_  CANETTO 

parks  from  the  anvil  of  the  flaming  sword! 

[AMINA  has  withdrawn  with  the  SOLDIER  to  the 
doorway.    MARIA  breaks  through  between  them.] 

FIAMMA 
Maria! 

[Her  voice  chokes. 
CANETTO 

[Close  to  FIAMMA,  he  speaks  his  directions  very 

quickly.] 

Let  there  be  no  misunderstanding.    All 
Must  be  as  clear  as  fine  French  glass. 
Your  son  is  come  to  bear  you  company, 
Because  his  Holiness  recklessly  demands 
The  hostage's  return,  because  my  master 
Will  not  consent  to  this,  because,  tomorrow, 
You  ride  with  us.    But  presently 
The  Nuncio  of  the  Pope  will  speak  with  you.  .  .  . 
You  will  refuse  to  give  my  master  up.  ... 


ACT  ii]  SWORDS  79 

FlAMMA 

[Lifts  her  head  during  CANETTO'S  instructions  and 

now  rises  to  her  feet  quite  steadily. ] 
My  good  Maria,  here's  my  little  son, 
Suddenly  brought  to  me  from  Rome.  .  .  . 
To  comfort  me.    He  lodges  in  my  chamber. 
We  must  find  means  to  order  things 
A  little  differently  because  of  him. 
It  does  not  greatly  matter,  I  suppose. 
Now  lay  him  in  my  bed.    He  is  so  sturdy.  .  .  . 
Whatever  else  befall  us  in  this  place, 
He  must  go  safely  out.  .  .  . 
Go,  my  Fiorenzo,  go;  Maria's  kind.  .  .  . 
She  has  red  cherries  for  you.  .  .  . 

FIORENZO 
Mother.  .  .  . 

MARIA 
Oh,  Madonna.  .  .  . 

[In  the  meanwhile,  too,  very  faintly  at  first,  comes 
the  sound  of  singing  on  the  sea,  the  mingled  voices 
of  men  and  women  singing  the  crusade  hymn  of 
Adam  de  St.  Victor.} 

SINGERS 

Ave,  Virgo  singularis, 
Mater  nostri  Salutaris, 
Quae  vocaris  Stella  Mans, 

Stella  non  erratica; 
Nos  in  hujas  vitae  man 
Non  permitte  naufragari, 
Sed  pro  nobis  Salutari 

Tuo  semper  supplica! 

Saevit  mare,  fremunt  venti, 
Fructus  surgunt  turbulenti; 


80  SWORDS  [ACT  n 

Navis  currit,  sed  current! 

Tot  occurnint  obvia! 
Hie  sirenes  voluptatis, 
Draco,  canes  cum  piratis, 
Mortem  pene  desperatis 

Haec  intentant  omnia. 

Post  abysses,  nunc  ad  coelum 
Furens  unda  fert  phaselum; 
Nutat  mains,  fluit  velum, 

Nautae  cessat  opera; 
Contabescit  in  his  malis 
Homo  noster  animalis; 
Tu  nos,  Mater  spiritalis, 

Pereuntes  liberal 

[UGOLINO  appears  in  the  doorway.     His  face  is 
flushed,  his  hair  disordered,  his  hands  are  restless.} 

FIAMMA 

Lord  Baron  Ugolino,  now,  I  learn, 
From  your  lieutenant's  word,  that  very  soon 
I  am  to  follow  you  to  Germany. 
Well,  it  is  well,  I  say,  and  say  no  more. 

[In  the  meantime  MARIA  and  FIORENZO  have  gone 
together  up  the  stair.} 

CANETTO 
Said  I  not  so,  my  master? 

UGOLINO 

Fiamma,  my  Fiamma,  you  will  not  regret.  .  .  . 
We  two  shall  overpower  all  regrets.  .  .  . 
You  will  be  Empress.  .  .  . 

CANETTO 
Go,  one  of  you,  and  fetch  the  Nuncio  here.  .  .  . 

[A  SOLDIER  goes. 


ACT  11]  SWORDS  81 

UGOLINO 

Tomorrow  will  see  armies  take  the  field. 
Fiamma,  for  love  of  you. 

CANETTO 

/We  feast  and  drink  tonight. 

I  Children  of  shadows,  creatures  of  the  smoke,  L   S^\ 

Viewers  by  candlelight.  .  .  . 

UGOLINO 

Oh,  like  enough,  tomorrow  will  be  foolish. 

[Beneath  FIAMMA 's  direct  gaze  he  flinches. 

CANETTO 
No  more, 
Dear  master,  she  is  honey,  now,  and  wax.  .  .  . 

i 

FIAMMA 

Oh,  God,  why  is  it  that  I  cannot  hate? 

UGOLINO 

You  can  no  longer  hate  me,  Fiamma? 

[The  NUNCIO  enters,  led  by  the  SOLDIER. 

NUNCIO 

Madonna  Fiamma, 
You  know  my  business.    Let  me  bear  your  answer. 

FIAMMA 
Who  is  this  man? 

CANETTO 

This  is  the  messenger  from  his  Holiness. 
And  indirectly  from  Damiano,  too.  .  .  . 

FIAMMA 
.  .  .  What  must  I  say? 


82  SWORDS  [ACT  n 

CANETTO 

No  more  than  I  have  said  already.  .  .  . 

His  Grace  is  still 

A  veritable  doubting  Thomas, 

Will  not  believe  that  you  accompany 

Us  of  your  own  free  will  nor  that  you  bid 

Damiano  find  you  out 

In  Trent  in  ten  days'  tune. 

NUNCIO 

Is  that  your  word, 
Madonna  Fiamma? 

FIAMMA 

[Her  eyes  beg  for  his  understanding. 
Do  you  read  the  stars? 
They  are  so  bright,  they  seem 
To  glitter  with  so  little  meaning,  yet, 
By  devious  interpretation,  say 
Such  diverse,  beautiful  and  mysterious  things.  .  . 
That  is  my  word  to  you.  .  . 

CANETTO 

Madonna  Fiamma,  riddles  but  confuse 
An  obvious  issue. 

NUNCIO 

Lady  ...  do  you  say?  .  .  . 

FIAMMA 
No  more.  .  . 

CANETTO 

A  word,  Madonna,  I  beseech 

You  by  the  right  I  have  to  ask 

Some  petty  favors  of  you.  .  .  .  Let  there  be 

Conviction  in  your  voice. 


ACT  n]  SWORDS  83 

FIAMMA 

[Without  looking  toward  CANETTO.     She  draws  a 

deep  breath.} 
Ten  days  from  now 

In  Trent  upon  the  border  of  the  north.  ... 
I  must  remain  a  hostage  until  then. 

CANETTO 
Well  said.  .  .  . 

UGOLINO 
Oh,  Fiamma.  .  .  . 

NUNCIO 
Willingly? 

FIAMMA 

Not  unwillingly,  your  Grace.  .  .  . 

You  have  my  word.  .  .  . 

[She  turns,  hearing  the  hymn  which  is  now  very 
clearly  audible.} 

What  song  is  that? 

[A  soldier  has  entered  carrying  a  very  regal  robe 
and  another  follows  him  bearing  a  crown  of  pre 
cious  Byzantine  workmanship — enamelled  and  jew 
elled.  WOMEN  come  after — enough  so  that  nine 
great  tapers  may  be  on  the  scene.} 

UGOLINO 

[Breathlessly — still  close  to  FIAMMA. 
I  shall  be  Emperor  and  set  your  will 
Over  the  wills  and  words  of  all  the  earth, 
Over  the  Swords  and  Spears  of  all  the  earth, 
You  bring  such  power  to  me. 

[She  has  listened  proudly,  giving  no  sign  that  she 
heard  his  words.    Falteringly,  he  takes  her  arm.} 
See,  Fiamma,  see — my  flight 
Was  swift  as  any  hare's, 


84  SWORDS  [ACT  n 

Yet  I  brought  treasures. 

I  spill  them  at  your  feet. 

See,  Fiamma,  see  the  spoils  that  I  have  fetched! 

I  cast  them  at  your  feet; 

O,  tread  upon  them. 

They  are  nothing 

Beneath  your  gaze  that  burns  them  into  dust. 

I  know  they  are  not  worthy  .  .  .  nothing  is. 

[He  has  led  her  toward  the  front  of  the  scene  di 
rectly  in  the  centre.  He  takes  the  great  robe, 
from  its  coffer  and  the  crown  from  him  who 
holds  it.] 

A  robe — 

A  crown — 

What  else? 

What  could  I  bring  you  more  than  these? 

I  sacked  Byzantium  to  win  the  crown. 

I  pillaged  Rome  to  gain  the  robe. 

Nothing — they're  nothing — 

What  could  I  bring  you  more?  .  .  . 

And  yet — oh,  yet, 

Fiamma,  be  pitiful 

And  let  me  give  you  them. 

The  world  contains  no  rarer  treasures. 

I  have  emptied 

The  treasure  houses  of  the  world. 

I  know. 

[He  hands  the  crown  back  to  the  SOLDIER  and  dis 
plays  the  robe  with  a  kind  of  childish  eagerness, 
hoping  vainly  for  some  sign  of  her  pleaswe.] 

Once  on  a  time  a  King  in  Babylon 

Ordained  the  weaving  of  this  mantle, 

Saying:  "None  is  so  beautiful  as  my  queen. 

She  shall  be  clad  sublimely." 

Once  on  another  time 

A  Queen  in  Samarkand 


ACT  ii]  SWORDS  85 

Deemed  herself  worthy  of  such  splendor, 

And  all  the  Arabian  East 

Worshipped  her,  wearing  it. 

But  afterwards  men  laid  it  by 

Against  the  time  when,  once  more,  perfect 

Beauty  should  walk  the  earth. 

Fiamma,  that  time  has  come. 

Alas! 

How  poor  the  robe  enveloping  your  beauty! 

Oh,  yet,  be  pitiful  and  wear  it!   ... 

[He  wraps  it  about  FIAMMA'S  shoulders.  She  is 
like  some  incredible  Ikon,  like  some  pre-Giottesque 
Madonna,  all  gold,  immovable.  Maria  re-enters 
above  from  her  mistress'  chamber.] 

AMINA 

I  have  seen  the  shrine  of  a  miraculous  image. 
It  was  less  gorgeous  than  she. 

MARIA 

[From  the  door  above. 
She  is  like  the  Virgin! 
She  is  like  the  Virgin  Mary! 

UGOLINO 

Bring  all  your  candles  closer. 
Here  is  a  sacred  thing. 

[He  takes  the  crown. 
St.  Helena,  mother  of  Constantine, 
Dreamed  where  the  true  cross  lay 
Hidden  in  Palestine, 

And  found  the  cross  and  found  the  nails  and  thorns — 
And  said: 

"A  fitting  reliquary  shall  be  made, 
A  Crown  more  precious 
Than  any  that  has  ever  been. 


86  SWORDS  [ACT  n 

Fashion  me- one  of  gold  and  fine  enamel 

And  emeralds  and  chrysoprase  and  pearls 

And  lapis-lazuli  and  malachite, 

And  weld  a  nail  therein 

And  set  a  splinter  of  the  cross 

And  set  a  thorn  amidst  its  jewels, 

For  it  shall  be  the  crown  to  rule  the  world." 

Your  scorn  the  world,  Fiamma, 

I  know. 

I  know. 

O,  yet  be  pitiful! 

[He  sets  the  crown  reverently  upon  the  motionless 
head.    The  WOMEN  with  the  candles  have  formed 
a  half  circle  of  which  FIAMMA  is  the  centre.} 
*"- ~ 7 V 

AMINA 

She  is  like  the  altar  of  Corpus  Christ! 
With  all  the  candles  burning. 

A  SOLDIER 
Not  all  the  shrines  of  Rome  have  so  much  gold. 

MARIA 

I  have  seen  a  picture  of  the  Virgin  Mary. 
She  was  crowned  Queen  of  Paradise  by  God. 
You  have  her  look,  Madonna. 

UGOLINO 
I  crown  you — 

[He  falls  to  his  knees. 
So— 

You  shall  be  Queen  beside  me. 
And  we  shall  rise  omnipotent,  we  two — 
You — Fiamma — 
Ahl 

And  Ugolino, 
I! 


ACT  n]  SWORDS  87 

[He  buries  his  face  in  the  hem  oj  her  dress.    Still    I 
she  does  not  move.    Her  gaze  seems  frozen.    All    ^ 
the  lights  shine  upon  her,  but  they  are  pale  beside 
her.     She  is  an  image  oj  the  Virgin  decked  in 
votive  offerings.     She  could  work  miracles.} 

[But  this  feeble,  gorgeous,  worldly  attempt  to  en-  v.   , 
shrine  divinity  has  jailed.    The  singing  has  grown 
so  loud  that  UGOLINO'S  words  have  been  partly 
drowned  by  it.     The  CAPTAIN  enters.} 

CAPTAIN 
Madonna,  he  is  come. 

CANETTO 
Who? 

CAPTAIN 
The  hermit. 

CANETTO 

So.  .  .  I  remember  now, 
You  told  me  of  this  hermit,  Captain.  .  .  . 

FIAMMA 

[Still  immovable,  breaking  her  silence  almost  with 

an  effort.} 
Lead  him  before  me. 

CANETTO 
Not  so  fast,  Madonna. 

FIAMMA 
Bring  him  before  me. 

UGOLINO 

[Lifting  his  head. 
I'll  have  no  shavehead  here. 

[He  supports  himself  at  FIAMMA 's  feet,  leaning  upon 
his  arm.} 

MARIA 
Madonna.  ...  oh, 


88  SWORDS  [ACT  n 

Madonna  Fiamma  ...  no.  ... 

[CANETTO  watches  FIAMMA  and  MARIA  closely. 

FIAMMA 
Bring  him  to  me. 

[But  suddenly,  DAMIANO  is  there.  He  enters 
quickly  without  being  fetched,  a  stalwart  figure 
in  the  robe  of  a  Franciscan  friar  minor.  His  cowl 
is  pulled  far  over  his  face.  He  moves  with  the 
swift  swing  of  youthful  energy.  Seeing  FIAMMA, 
he  pauses.  His  eyes  and  FIAMMA'S  meet  across 
the  crouching  form  of  UGOLINO.] 

FIAMMA 
Leave  us  together,  all  of  you. 

UGOLINO 
[Looks  at  DAMIANO  feverishly  and  springs  to  his 

feet.] 
How  came  you  here? 

[DAMIANO  does  not  move. 
Answer  me,  priest  .  .  .  who  are  you? 

CANETTO 

[Steps  forward. 

The  holy  father  enters  as  he  pleases. 
I  would  I  might  make  sure.  .  .  . 

[He  speaks  half  to  himself  and  goes  toward  DAM 
IANO.    He  lifts  his  hand  as  though  to  snatch  back 
the  cowl.    He  changes  his  mind.} 
[He  seems  to  radiate  a  great  sudden  joy  and  he  is 

surely  thinking  deeply  and  quickly.} 
Come  .  .  .  leave  Madonna  here  with  her  confessor. 
[His    arm    about    UGOLINO'S    shoulder,    turns    to 

FIAMMA.] 

We  shall,  in  turn,  obey  your  wish,  and  go 
Regretfully,  but  with  due  reverence. 


ACT    II] 

SWORDS 

UGOLINO 

[Puzzled  . 

Why,  no.  ... 

CANETTO 

Master.  .  .  . 

UGOLINO 

No.  ,      .  No.  . 

89 
looks  at  CANETTO. 


CANETTO 

Master,  be  generous.  .  .  . 
My  master? 

[His  tone  is  curiously  insinuating. 

UGOLINO 

[Bursting  out. 
He?  ... 

CANETTO 
We  must  be  quite  certain.  .  .  . 

[UGOLINO,  pushed  by  CANETTO,  goes. 
Go  on  before,  good  Captain.  .  .  . 

[The  CAPTAIN  goes,  making  the  sign  of  the  cross, 

as  he  turns  toward  DAMIANO.] 

There's  piety,  your  Grace.  ...  I  will  attend  you.  .   .  . 
Go — all  of  you!     Lovely  Amina.  .  .  . 
Only  leave  your  candles 
That  the  confession  may  not  be  too  gloomy. 

[AMINA  goes,  same  business  as  the  CAPTAIN,  and  the 
NUNCIO,  with  an  adoring  look  at  FIAMMA,  fol 
lows.} 

CANETTO 

My  good  Maria,  I  have  need  of  you. 

War  and  religion 

Should  not  bear  one  another  company 

Too  long.  ...  So  forward,  men!    My  good  Maria.  .  .  . 


90  SWORDS  [ACT  n 

[The  soldiers  have  gone.     MARIA  goes  across,  her 
fear  quite  evident.     She  is  ushered  out  by  CA- 

NETTO.] 

Peace  be  upon  your  prayers.  .  .  . 

[He  goes. 
FIAMMA 

[She  speaks  as  with  a  very  great  effort  and  she  does 

not  move.] 
Put  back  your  cowl. 

[DAMIANO  obeys.    We  see  his  face,  of  serious,  quiet 

beauty,  his  hair  dark  and  curly.    A  tight  cap  of 

mail  rests  upon  his  head.] 

FIAMMA 

This  is  a  strange  disguise.  .  .  . 
'  This  is  a  strange  encounter.  .  .  . 
\ — 

DAMIANO 
The  hermit  hooded  me. 

FIAMMA 
God  will  forgive  the  desecration.  .  .  . 

DAMIANO 

I  stared  over  the  water  at  this  place, 

I  lurked  beneath  your  window  in  a  boat. 

I  could  not  stare  and  lurk  forever,  so 

The  hermit  hooded  me,  and  so, 

I  entered  .  .  . 

You  know  why  I  have  come? 

FIAMMA 
I  know 
That  you  are  mad  ...  to  come  so  soon.  .  .  * 


ACT  n]  SWORDS  91 

DAMIANO 
Our  son  .  .  . 

[FIAMMA  nods. 
Stolen  .  .  . 

FIAMMA 
Fiorenzo's  here. 

DAMIANO 
Unhurt? 

FIAMMA 
Unhurt. 

DAMIANO 

Oh,  when  they  told  me! 
Could  I  have  waited  longer? 
I  knew  he  would  be  here. 
I  knew  that  you  would  need  me. 
All  that  I  have  called  me. 
I  answered. 
You  were  not  frightened  when  they  brought  him  here? 

FIAMMA 

At  first,  a  little.    After  I  remembered 
How  you  would  surely  come  tonight. 
Are  you  alone? 

DAMIANO 
Two  score 

Lie  off  the  island  in  a  boat  against 
The  changing  of  the  watch  . 


The  changing  of  the  watch  .  .  . 

FIAMMA 
As  I  had  planned. 


j     *  y 

DAMIANO 


Enough? 

FIAMMA 

There  are  but  four  and  twenty  men 
To  man  the  gates. 


92  SWORDS  [ACT  n 

They  will  be  routed  by  surprise 

How  strange  this  is  ... 

Although  I  am  afraid  ...  oh,  desperately  .  .  . 

I  cannot  fear,  Damiano.  .  .  . 

I  am  with  you  here  as  always 

In  our  house. 

[The  robe  slips  from  her  shoulders.  Her  hands  go 
to  her  brow  and  remove  the  crown.  She  drops  it 
soundlessly  upon  the  robe.  She  makes  a  little 
plaintive  sound,  steps  nearer  DAMIANO  and  sud 
denly  jails  softly  to  her  knees  before  him.] 
[His  hands  pressed  tightly  palm  to  palm,  his  lips 
move  silently  in  prayer.] 

FIAMMA 

My  lord,  my  love,  my  guide,  my  master.  .  . 
My  husband  and  my  brother  before  Christ.  .  . 
My  veriest  child.  .  . 

DAMIANO 

My  Fiamma.  .  . 

[The  night  sky  is  luminous  with  moonrise.     The 

upper  reaches  of  the  tower  are  all  blue.] 
[He  raises  her  to  her  feet  and  holds  her  at  arms' 
length,  his  hands  on  her  shoulders,  his  face  close 
to  hers.] 
My  beloved, 
There  is  great  danger.  .  . 

[Far  less  calm  than  she,  he  releases  her  and  looks 
nervously  about.] 

FIAMMA 
I  have  my  love  again! 

DAMIANO 
That  was  Canetto? 

FIAMMA 
Yes. 


ACT  n]  SWORDS  93 

DAMIANO 

He  stole  the  child,  I  think. 
What  will  he  now  devise? 
Where  is  he  now? 

FIAMMA 

The  child  is  safe, 
We  two  have  been 
So  long  apart. 

DAMIANO 
He  would  not  give  you  up  to  me! 

FIAMMA 
Damiano.  .  .  . 

DAMIANO 
Oh,  Fiamma, 

Queen  of  kings  and  angels.  .  . 
My  lady  of  the  diadem  of  stars.  .  . 

FIAMMA 
Bend  down  your  face  upon  me.  .  . 

DAMIANO 

Your  eyes  shine  through  the  darkness  with  a  light 
Of  very  holy  mercy.  .  . 

[The  rising  moon  spreads  a  great  patch  of  light 

over  the  back  wall  of  the  stage.    It  shines  through 

the  window.] 

FIAMMA 
Give  me  your  lips,  Damiano. 

DAMIANO 

/I  am  as  one  long  years  immersed  in  darkness, 
I  For  all  the  perfect  answer  to  my  prayer 
\I  dare  not  look  upon  the  sun.  .  . 
How  strange  it  is!    I  do  not  know  myself.  .  . 


94  SWORDS  [ACT  n 

FlAMMA 

You  tremble,  my  Damiano,  and  in  me 
Is  only  blessed  peace.  .  . 
Give  me  your  lips.  .  . 

[They  kiss. 

DAMIANO 
What  sound  was  that? 

FIAMMA 
No  sound. 

DAMIANO 
I  heard  .  .  . 

FIAMMA 

Only  the  sea  birds  nesting  the  tower. 

DAMIANO 
But  if  one  should 
Come  here  upon  us! 

FIAMMA 

Maria  keeps  good  watch. 

We  are  alone  in  a  forgotten  world. 

Not  even  God  is  here. 

[The  shadow  of  a  head,  shoulders  and  arms  of  a 
man  appears  upon  the  back  wall,  framed,  as  the 
man  himself,  in  the  frame  of  the  tower  window.] 

DAMIANO 

The  dew  is  fresh  upon  the  April  grasses, 
My  Fiamma,  in  my  heart. 

FIAMMA 
And  I  am  filled  and  flowing  with  new  life.  .  .  . 

DAMIANO 

This  is  incredible.    We  two,  at  last. 
And  in  this  prison.  ... 


ACT  n]  SWORDS  9* 

s  FlAMMA 

^    Tis  a  dream,  perhaps.  .  .  . 
Damiano,  I  have  dreamed  .  .  . 
A  dreadful  dream  last  night 
Came  down  upon  my  slumber, 
Came  like  a  tapestry 
Woven  of  sword  thrusts, 
Dyed  in  blood.  .  .  .  Came  down, 
Dark  and  interminable  and  enveloped  me. 
Oh,  dreams  of  mine,  ineffable,  remote, 
And  bathed  in  bitter  tears  and  crowned  with  thorns, 
And  strewn  with  ashes,  life  has  answered  you!     y 

DAMIANO 

Now  in  a  little  while 

We  two  shall  give  the  signal  with  a  torch, 
And  then  my  men  will  come  and  we  shall  go, 
You,  and  our  son  and  I,  out  of  this  place 
Into  the  garden  of  the  day. 
I  know  that  we  are  watched.  .  .  . 

FIAMMA 

^What  then,  Damiano? 
Danger  gives  life  to  love ! 
This  the  utmost  moment  of  our  lives.     * 

DAMIANO 
I  heard  .    .   . 

FIAMMA 
Only  the  sea  birds  nesting  in  the  tower. 

[The  shadow  moves  and  vanishes. 
Come  up  and  watch 
How  well  Fiorenzo  sleeps.  .  .  . 

DAMIANO 

The  moon  has  come  and  scattered  all  the  mists 
Of  evening.  ... 


SWORDS 


[ACT  ii 


FlAMMA 

In  my  hair 
They  linger  still. 

DAMIANO 

The  moon  has  spun 

Moon  cobwebs  in  the  wonder  of  your  hair, 
There  hangs  an  opal  aureole  of  light 
Where  the  soft  mesh  of  fog  reflects  the  moon.  .  .  . 

[They  are  on  the  stairs,  embraced. 
The  wind  is  in  your  hair.    Ah,  give  it  me, 
Its  glory  is  God's  vision  after  death.  .  .  . 
Oh,  let  your  hair  breathe  on  me,  Fiamma,  so 
I  hold  it  to  my  lips.  .  t  . 

[They  go  on  up  the  stair. 

FIAMMA 

Now  all  the  woof  of  shadows  vanishes.  .  .  . 
Now  all  the  secrets  of  the  silences, 
Like  a  thick  skein  of  sombre  colored  silks, 
Limp  P  the  hand,  are  ours.    Unravel  them, 
Weave  them  anew! 


Together, 
Fiamma.  .  .  . 

Oh,  come. 
My  own.  .  .  . 
Fiorenzo  sleeps. 


DAMIANO 


FIAMMA 


DAMIANO 


FIAMMA 


DAMIANO 


[As  he  speaks  the  door,  left,  swings  open  quite 

silently  and  very  slowly.} 
Your  body  is  like  honey  and  like  wine, 
Your  voice 


ACT  n]  SWORDS  97 

Is  like  the  echo  when  the  starling  sings, 

Your  breath 

Is  sweet  as  scent  of  clover  fields 

Blown  down  the  summer  wind  to  nothingness.  .  .  . 

Your  hair,  oh,  Fiamma,  let  your  hair  fall  down 

On  your  slim  bosom.    On  my  lips,  my  soul 

Begs  for  its  softness. 

[The  door  is  open  now. 

FIAMMA 

[Stops  him  with  a  gesture  and  turns  to  the  shrine 

where  it  glows  beside  her  door.} 
Ave  Maria  gratia  plena,  .  .  .  ora  pro  nobis. 

[She  is  interrupted  by  a  scream  from  the  outer 

darkness.     It  is  the  cry  of  a  woman  in  mortal 

agony.     It    is    repeated    with    choked,    horrible 

words  which  we  cannot  understand,  which  we 

guess  to  be  pleas  for  mercy.} 
[  FIAMMA  and  DAMIANO  start  apart  in  terror.    The 

scream  sounds  nearer.} 
[MARIA    enters.     Her   scream   is   choked   in   her 

throat  as  she  crosses  the  threshold,  she  falls  on 

the  floor.    She  moans  hideously.} 
[Neither  FIAMMA  nor  DAMIANO  makes  a  sound.} 
[A  very  sickness  of  terror  holds  her  clinging  to  the 

stair-rail} 
[He  comes  very  cautiously   toward  the  moaning 

figure  of  MARIA.] 

CANETTO 

[Some  chords  of  a  lute  off  stage  and  he  is  heard 
singing  merrily.  The  voice  comes  from  a  dis 
tance.} 

E  lo  mio  cor  s'inchina, 

O,  bella,  vo  dicando 

Cos!  .  .  .  cosi.        .  Com'io  mi  sento 


98  SWORDS  [ACT  n 

E  di  dolor  penando, 

E  vi  .  .  .  e  vi  .  .  .  e  vivo  in  gran  tormento. 

DAMIANO 

[Bending    over   the   prostrate    woman,    he   speaks 

through  the  song.} 
Maria!  My  good  Maria! 
What  have  they  done  to  you? 

[He  lifts  her  head. 

[FIAMMA  runs  to  him,  but  the  sight  of  MARIA'S  face 
halts  her.] 

DAMIANO 
Her  tongue!   .  .  . 
Torn  out  at  the  roots! 

FIAMMA 

[Her  cry  of  horror  breaks  into  the  singing. 
The  butchers! 

DAMIANO 
Canetto! 

Our  messenger.  .  . 
She  will  not  speak  again. 
Such  a  jest 

As  hatches  in  that  evil  mind  .  .  . 
They  know  me  ...  who  I  am. 

FIAMMA 

Oh,  now  the  thing  begins.    Canetto  sings. 

He  sings  to  us,  Damiano! 

Canetto  is  a  juggler.  .  .  . 

We  are  the  balls  he  tosses  in  the  air.  .  .  . 

He  tosses  us  and  holds  us  in  his  hands!     N^ 

[The  curtain  jails  upon  their  terror. 


THE  THIRD  ACT 

The  curtain  rises  again  as  soon  as  may  be.  The  scene 
and  situation  are  unchanged.  The  action  has  not 
been  interrupted. 

CANETTO 

[Still  singing  in  the  distance. 

Oime  ch'io  moroe  amando! 

Oime  .  .  .  oime  .  .  .  oime  la  donna  mia! 

Oime  la  vita  mia! 

Pr'amo  vo  sospirando 

Per  ti  ...  per  ti  ...  per  ti,  o  vita  mia, 

Aime  .  .  .  aime  .  .  .  aime!      E  mors  querando. 

DAMIANO 

We  shall  have  need 
Of  all  our  wits. 

FIAMMA 

This  is  to  make  folk  laugh.  .  .  . 
Fool!    Fool  that  I  am! 

DAMIANO 
This  thing  lies  between  him  and  God. 

FIAMMA 
Between 
Canetto  and  his  god? 

DAMIANO 

They  tortured  her.    What  did  she  tell? 
What  did  she  tell  them? 


100  SWORDS  [ACT  m 

CANETTO 

[Still  singing  in  the  distance. 
Piu  ch'a  donna  che  sia 
A  ti  .  .  .  a  ti  .  .  .  a  ti  .  .  .  mi  raccomando 
Dime  lasso,  pensando; 
E  di  .  .  .  e  di     .  .  e  dico,  o  perla  mia, 
E  lo  mio  cor  s'inchina. 

[MARIA  lifts  her  head  and  tries  to  speak.    She  can 
only  make  a  choked  and  inarticulate  sound.] 

FIAMMA 

[She  stops  MARIA  with  a  gesture  of  horror. 
Someone  is  coming.  .  .  .  Cover  your  head. 

[DAMIANO  quickly  pulls  the  cowl  over  his  head. 
[The  CAPTAIN  enters. 
FIAMMA 
Oh,  Captain,  see.  . 

CAPTAIN 
She  told 
Nothing. 

FIAMMA 
My  brave  Maria. 

CAPTAIN 

It  was  her  silence  angered  them. 

I  greatly  fear  for  you,  Messire  Damiano. 

FIAMMA 
You  know? 

CAPTAIN 
I  guessed. 

FIAMMA 
And  yet  admitted  him? 

CAPTAIN 
To  you,  Madonna. 


ACT  m]  SWORDS  101 

DAMIANO 

We  must  move  hastily. 

CAPTAIN 
Which  way? 

DAMIANO 

There  is  the  window, 
We  have  a  ladder. 

CAPTAIN 

They  have  their  crossbows  and  the  moon  is  full. 

FlAMMA 

Canetto  knew 

What  power  Fiorenzo  had. 

DAMIANO 
The  child  was  certain  bait. 

FIAMMA 
Three  rats!     The  trap  is  full! 

CAPTAIN 

I  am  the  Captain  here, 
I  still  control  who  comes  and  goes. 

FIAMMA 
What  do  you  mean? 

CAPTAIN 

To  save  you  from  disaster, 

Madonna  Fiamma, 

I  would  betray  this  garrison. 

My  Lord,  I  understand 

How  few  things  are  important  in  this  life, 

How  there  may  be  but  one. 

FIAMMA 
And  that  one? 


102 

SWORDS 

CAPTAIN 

Justice. 

FIAMMA 

Oh,  yes. 

CAPTAIN 

[ACT  in 


You  have  concealed 

In  boats  beneath  the  rocks 

Two  score  of  soldiers,  sir. 

DAMIANO 
Canetto  knows? 

CAPTAIN 

I  cannot  say.    7  know.  .  .  . 
So  hide,  Messire  Damiano. 

FIAMMA 
My  chamber. 

CAPTAIN 

Better  not.    Their  thoughts 
Race  to  your  chamber.    Ugolino  grows 
Amorous  in  his  wine. 

FIAMMA 

[Her  hands  cover  her  eyes. 
Ah! 

CAPTAIN 
[He  has  opened  the  trap  which  CANETTO  inspected 

in  the  opening  scene.] 
Go  down,  Damiano. 

DAMIANO 
And  leave  you,  Fiamma? 

CAPTAIN 

Trust  me.  / 

Who  trusts  no  man  is  lost  indeed.  /N 

DAMIANO 
I  shall  be  trapped. 


ACT  in]  SWORDS  103 

FlAMMA 

The  trap  is  sprung  already. 

CAPTAIN 
Go  down,  Messire  Damiano. 

DAMIANO 
I  had  rather 
Fight  in  the  open. 

FIAMMA 

Think  .  .  .  Fiorenzo  lies 
Completely  at  their  mercy. 

CAPTAIN 
Only  this 

Between  your  deaths  and  you.  .  .  . 
That  I  command  the  gates. 

DAMIANO 
You  swear  to  open  them? 

% 

CAPTAIN 
If  need  come  .  .  .  yes.  .  .  . 

DAMIANO 

In  God's  sight,  then,  whose  eyes 
Cannot  be  blinded. 

[DAMIANO  goes  down  into  the  place  beneath.    The 
CAPTAIN  closes  the  door  above  his  head.} 

FIAMMA 
Now  I  commend  myself  to  God  and  you. 

CAPTAIN 
His  safety  lies  in  your  two  hands. 


104  SWORDS  [ACT  m 

FlAMMA 

I  know  tonight  cannot  miscarry, 
Tomorrow  were  too  dreadful  otherwise. 

CAPTAIN 

Be  gentle,  brave  and  wise, 
And  'ware  Canetto.  .  .  . 
Where  shall  I  take  the  woman? 

FIAMMA 
Is  she  much  hurt? 

CAPTAIN 
Not  mortally. 

FIAMMA 

Poor  woman!     Captain,  such  fidelity 
Is  something  more  than  ordinary. 

CAPTAIN 

"\6h,  rare  is  all  fidelity.  .  V.-«V: 
Madonna,  aiding  you, 
I  must  be  faithless  to  my  oath. 
My  fealty  that  men  would  call  my  honor.  .  .  . 
Serving  injustice,  would  God  call  it  so? 

FIAMMA 
Fidelity 
Cannot  be  base  nor  to  base  ends  pervertedN 

CAPTAIN 
Ah.  ... 

FIAMMA 

My  state  is  pitiable.    Do  what  you  may 
For  me  and  for  my  lord  and  for  my  child. 

CAPTAIN 
Great  soul.  Forever  more  I  swear.  .  .  . 

[But  CANETTO  enters  suddenly  bearing  his  lute. 


ACT  m]  SWORDS  105 

CANETTO 

You  must  not  whisper,  Captain.  /Whispers  strike 
The  spark  upon  the  tinder  of  suspicion.  1 
Besides  .    .    . 
I  find  it  difficult  to  overhear  you. 

FIAMMA 

[Pointing  to  MARIA. 
Messire  Canetto, 
This  is  a  hellish  thing  that  you  have  done. 

CANETTO 

Madonna  Fiamma, 
This  is  a  thing  too  hideous  for  hell. 

FIAMMA 

[To  the  Captain. 
Take  her  away. 

CANETTO 

Go,  help  her  to  the  woman 's  lodgings. 

Send  the  leech  to  her 

That  she  may  learn  to  speak  without  a  tongue. 

FIAMMA 
Oh,  can  you  walk,  Maria? 

CAPTAIN 
Well  enough 
If  I  support  her. 

[He  helps  her  to  her  feet.    Her  moans  have  ceased. 
[MARIA  looks  once  and  terribly  at  CANETTO. 
[CANETTO  shudders  in  spite  of  himself.     The  CAP 
TAIN  and  MARIA  go.] 


106  SWORDS  [ACT  in 

FIAMMA 

I  heard  you  singing  now,  Messire  Canetto, 
Upon  the  heels  of  this. 

CANETTO 

[He  hums  mockingly. 
"E  lo  mio  cor  s'inchina  ..." 
Madonna  .  .  . 

While  duty  robbed  me  of  the  sight  of  you, 
Which  was  a  deep  misfortune  to  my  eyes, 
I  thought  to  give  you  sound  of  me,  and  took 
Such  comfort  in  my  madrigal. 

FIAMMA 
The  crow  caws  horrid  requiems.    * 

CANETTO 
Look  in  my  eyes. 

What  glint  of  infamy  do  you  discover? 
My  nails  shall  pluck  it  out. 

FIAMMA 
I  am  not  in  the  jesting  vein. 

CANETTO 

[But  he  is  gay  enough  for  both. 
If  rain  falls  from  the  thunders  of  the  skies 
Upon  two  men  alike,  two  men  are  wet. 
But  only  one  of  them  may  dry  himself 
Beside  the  fire. 

FIAMMA 
Both.  .  .  . 

CANETTO 
Alas, 
We  are  not  Moslems  when  the  fire  is  love. 


ACT  m]  SWORDS  107 

FlAMMA 

Oh,  villain! 

CANETTO 


Is  the  metaphor 
Too  allegorical? 

Vile,  oh,  vile! 

FlAMMA 

CANETTO 

The  trap  must  work 

Two  ways  at  once. 

My  master  gains 

His  vengeance.    I  appropriate  his  love. 

Is  not  the  division  fair  enough? 

Where  have  you  hidden  him? 

[He  looks  abottt. 

FlAMMA 

Whom  do  you  think  I  hide? 

CANETTO 
The  man  of  God. 

FlAMMA 

Gone! 

I  had  almost  forgotten  him  in  this. 

I  cannot  much  regret 

He  did  not  stay  to  share  it  with  me. 

CANETTO 
He  did  not  stay? 

FlAMMA 

You  see  he  did  not. 

CANETTO 

And  now,  beyond  a  doubt,  he  tells  his  beads 
Peaceably  in  his  chapel? 

FlAMMA 

It  may  be  so. 


108  SWORDS  [ACT  HI 

CANETTO 

The  age  of  miracles  goes  on  and  on. 
How  did  he  leave? 

FlAMMA 

How? 

CANETTO 
By  the  window? 

FIAMMA 

That  way  is  guarded.    Ask  the  sentinel. 

CANETTO 

So  opportune  in  his  arrival  .  .  . 
So  early  gone. 

FIAMMA 

I  am  not  slow  at  my  devotions. 

CANETTO 

Who  has  no  fear  of  hell  has  little  need 
Of  prayer,  Madonna  .  .  .  that  I  concede. 
Only  one  trifle  puzzles  me. 
I  have  not  seen  a  monk  before,  who  wore 
A  shirt  of  mail. 

FIAMMA 

Are  you  surprised? 
It  seems  a  prudent  garment. 

CANETTO 

Against  swords,  perhaps. 

Against  suspicion,  most  imprudent.     But 

My  preference  impels  me  to  believe 

Your  words  .  .  .  although  I  know  there  is  no  truth 

In  them. 

FIAMMA 

I  do  not  ask  that  you  believe  my  words. 


ACT  in]  SWORDS  109 

CANETTO 
It  suits  me  for  the  moment. 

FIAMMA 
Search  as  you  will. 

CANETTO 

No,  I'll  rather  close 

This  door  and  speak  with  you  a  while 
In  privacy. 

FIAMMA 
You  have  much  jarred  my  gaiety.  ,X 

CANETTO 

Unfortunate!    My  own  , 
Is  at  the  fever  pitch.    / 

[He  goes  to  close  the  door. 

FIAMMA 
Leave  me. 

CANETTO 

There's  a  feast,  tonight. 
My  lord  calls  it  his  wedding  feast. 
Your  eyes  are  wary,  Fiamma. 
Should  you  laugh 
Were  I  to  woo  you? 

FIAMMA 
Are  you  so  disposed? 

CANETTO 

Love  is  an  element 
In  all  our  dispositions  J^  Am  I  rash? 

FIAMMA 
Since  you  risk  nothing,  only  base. 

CANETTO 

I  should  not  hope  to  win  your  friendship,  yet, 
You  have  a  scorn  but  little  less  than  friendly.  .  .  . 


\ 

3 


110  SWORDS  [ACT  in 

A  curse  from  you  were  cousin  to  a  blessing.;* 

I  told  you,  you  remember, 

I  found  in  you  my  first  antagonist? 

I  am  a  judge,  Madonna. 

FIAMMA 
I  find  your  words  discourteous. 

CANETTO 
Alas! 

FlAMMA 

You  find  my  scorn  is  something  less  than  friendly, 
I  find  your  thoughts  much  less  than  loyal,  if, 
I  have  culled  their  flower. 

CANETTO 

You  find  the  flower.  .  . 
Fragrant? 

FIAMMA 
No. 

CANETTO 
Why,  then.  .  .  . 
Endow  it  with  a  perfume.  .  .  . 

FIAMMA 
I? 

CANETTO 
Who  else? 
Lady,  I  love  you,  too. 

FIAMMA 

Even  as  I  said  .   .   . 
Your  loyalty 
Might  well  be  questioned.  .  .  . 

CANETTO 
My  loyalty  to  whom? 


ACT  m]  SWORDS  111 

FIAMMA 
Your  master. 

CANETTO 

I  am  not  slow  to  change 

A  master  for  a  mistress.  .  . 

I  offer  you  the  choice 

Between  that  German  swine  I  serve,  and  me, 

Who  am,  I  think,  the  more  presentable.  .  . 

Considered  as  a  lover. 

There  is  a.  bond  between  us  two. 

FIAMMA 
What  bond? 

CANETTO 
Our  love  of  beauty. 

FIAMMA 
Hah! 

CANETTO 
Or  good  or  evil 
Beauty  is  beauty  still. 

Beauty  with  me  or  corn  husks  with  a  swine.  .  .  . 
Say  ...  do  you  know  remorse? 
Delicately  considered,  it  becomes 
A  kind  of  revelling  in  wrong.    I  know 
What  I  shall  do.    Now,  through  remorse, 
I  glory  in  the  doing. 

My  pulses  pound  the  harder.    Love  is  made, 
Somehow,  more  resonant  by  this  remorse 
Of  mine,  this  honest  consciousness  of  what 
I  do  for  you  against  my  loyalty. 
All  my  life  is  here! 
Since  you  will  make  no  choice 
Between  my  lord  and  me, 
I  fling  my  loyalty  at  your  feet, 
Trample  its  flimsy  texture, 


112  SWORDS  [ACT  m 

Vault  the  gulf  between  us,  take  you  for  myself 
And  laugh  at  him ! 

FIAMMA 
I'll  call  your  master  here. 

CANETTO 
How  if  /  call  him? 

FIAMMA 
You  will  not  dare.  .  . 

CANETTO 
Not  dare,  and  this  to  gain? 

FIAMMA 
I  am  still  Fiamma.  .  . 

CANETTO 

Ay,  that's  true.  .  .  . 

See,  now  ...  I  close  the  door.    My  master  sits 
Over  his  wine  ...  I  come 
Closer  to  you  ...  I  lay 

My  hand  upon  your  dress.  ...  A  little  wrench.  .  .  . 
Only  a  little  wrench.  .  . 

[He  has  suited  action  to  word  and  stands,  now,  his 
hand  gripping  the  bosom  of  Fiamma's  dress.] 

FIAMMA 

[In  a  hard  voice. 
Put  down  your  hand. 

CANETTO 
I  cannot. 

FIAMMA 
Put  down  your  hand! 

CANETTO 
Strike  it  away. 

FIAMMA 

[A  futile  movement.    Her  hand  falls. 
An!  .  . 


2 

V*        t$ 


Phot< 


BEAUTY    WITH    ME    OR    CORNHUSKS    WITH    A    SWINE. 

Clare  Eames  and  Jose  Ruben 


ACT  m]  SWORDS  113 

CANETTO 

Madonna  Fiamma.  .  .  I  alone 
Of  all  who  cross  your  path  am  strong  enough 
To  disregard  your  will. 
You  dare  not  cry  aloud  for  help, 
Because,  to  cry  were  to  betray  Damiano. 
You  laugh? 

FIAMMA 
I  do  not  laugh. 

CANETTO 

v/ 
A  little  danger,  like  a  little  wine, 

Resolves  our  passions  to  consuming  heat, 
Our  blood  to  molten  metal. 

FIAMMA 
Oh,  my  God, 
Resolve  my  indeterminate  heart  for  me! 

CANETTO 

Refuge  in  prayer?    Why,  then,  the  trick  is  turned! 
The  molten  metal's  poured  upon  the  wood. 
It  chars.  .  .  an  instant  more  and  it  will  burst 
To  devastating  flame.    Call  on  Damiano 
And  let  me  kill  him  here  and  kiss  away 
The  dying  breath  of  him  from  off  your  lips, 
And  kiss  the  snarl  of  terror  from  your  lips.  .  . 

FIAMMA 
Talk  and  talk  and  talk.  .  .  hold  off.  .  . 

CANETTO 
Sea  gulll 

FIAMMA 
Back! 

CANETTO 
Fox,  , 


114  SWORDS  [ACT  m 

FIAMMA 
Wild  beast.  .  . 

CANETTO 

That 'sit!    Wild  beast! 
I  am  Reynard  come  to  mate 
With  you  beneath  the  moon.  .  . 
I  bark.  ...  I  howl.  .  . 

FIAMMA 

Now  tell  me  you  are  mad.  .  . 
Tell  me  that  you  are  mad,  or,  by  the  saints, 
I'll  tear  your  soul  out  of  your  stinking  throat. 


3 


CANETTO 

[Breaks  out  into  convulsive  laughter. 
Tear,  Fiamma,  tear,  and  see 
How  my  soul  mirrors  you  in  all  your  beauty.  .  .  . 

FIAMMA 
Kneel  down.  .  .  . 

CANETTO 
My  queen.  .  .  . 

FIAMMA 
Kneel  down 
And  swear  you  did  not  speak  to  me.  .  .  .  Oh,  foul.  .  .  . 

CANETTO 

[He  kneels. 

Foul  though  I  be,  I  woo  you.  .  .  and,  in  time, 
Shall  win  you  to  my  wooing.    This  I  knew 
From  my  first  glimpse  of  you  .  .  . 

FIAMMA 
Befouled.  .  . 

Befouled  am  I  in  this.  .  . 
You  jackal  of  the  night.  .  . 
You  snake.  .  .  .  you  wolf.  .  .  . 


ACT  m]  SWORDS  115 

CANETTO 
You  saint.  .  .  .  you  goddess.  .  .  . 

FlAMMA 

[Retreating  from  him  she  has  come  against  the  table. 
With  a  swift  gesture  she  whips  Ugolino's  sword  out 
of   its   scabbard   and  presses  its  point   against 
CANETTO'S  throat.] 
Silence! 

CANETTO 

[Still  choked  with  laughter,  on  his  knees,  his  hand 

catches  her  skirt  to  his  lips.] 
Magnificent!     Now,  press.  .  .  ever  so  lightly.  .  . 
A  single  blow  and  your  worst  enemy 
And  hottest  suitor  dies.    Oh,  now  again 
A  thrill  runs  through  your  flesh  as  when  I  touched 
Your  bosom  lately.    Oh,  believe  me,  Fiamma, 
Such  loathing  is  the  closest  kin  to  passion. 
Is,  of  itself,  desire. 

[She  tries  to  draw  back.    His  upturned  face  seems  to 

hold  her  almost  hypnotically.] 
I  see  my  lord 

Who  kneels  by  your  inviolable  bed, 
Pleading,  and  is  rejected, 

And  turns  away  and  dares  not  touch  your  hand, 
For  utmost  fear  of  you.  .  .  . 
I  dare.    Oh,  Fiamma,  do  you  see?    I  dare. 

[His  hand  has  crept  up  the  blade  and  fastens  upon 
hers  where  she  grips  the  hilt..  The  sword  falters.] 
Heroes  are  in  your  heart  awaiting  him 
Who  shall  be  fit  to  father  heroes.    You 
No  longer  speak  with  men,  but  hold,  at  evening, 
Your  solitude's  communion  with  the  bells. 

[FIAMMA  reels.    CANETTO  begins  to  rise. 
For  all  and  always,  I, 


116  SWORDS  [ACT  m 

Madonna  Fiamma,  I  have  broken  you.  .  . 
In  all  the  world  I  am  your  single  peer. 

[On  his  feet,  facing  her. 
I  have  decided,  Fiamma,  presently 
We  shall  go  out  together,  to  some  hill, 
Where  distant  lutes  are  clear  and  night  birds  sing.  .  .  . 
I  know  this,  Fiamma,  nor  will  you  gainsay 
My  will  in  any  wise.    This  love  of  mine 
Born  in  betrayal  of  my  master's  trust, 
Envenomed  by  remorse, 
In  its  incredible  ascendency, 
Is  invincible. 

[The  sword  jails  clanking  to  the  floor.    Her  hands 
are  limp.] 

[FIAMMA  catches  her  breath  in  a  great  sob. 
Said  I  not  so?    Oh,  now.  .  .  oh,  now,  your  flesh 
Is  flame,  your  blood  is  molten  gold,  your  bones 
Are  nothing.  .  .  . 

[His  hands  mould  her  as  though  she  were  clay. 

FIAMMA 

[Almost  fainting. 
Canettol 

CANETTO 


Now  have  you  learned.  .  .  .  There  is 
Nothinp.  Mad< 


Nothing,  Madonna,  so  invincible 
As  evil. 

FIAMMA 
Ahi  .  .  . 

CANETTO 
It  is  the  revelry 

Of  life  eternally  triumphant,  ah — 
It  is  the  hunger  of  eternity. 

[He  sinks  at  her  feet  and  his  lips  devour  her  hand. 
She  seems  completely  bereft  of  strength.] 

[UGOLINO  bursts  in. 


ACT  in]  SWORDS  117 

UGOLINO 
Fiamma! 

[Without  materially  changing  his  position,  CANETTO 
stiffens. 

[FIAMMA'S  head  falls  back.    She  is  revived. 

UGOLINO 
Madonna  Fiamma! 

FIAMMA 
My  lord  ...  I  welcome  you  .  .  . 

CANETTO 

On  bended  knee,  Madonna, 
I  thank  you.  .  . 

UGOLINO 

[Evidently  he  is  a  little  drunk. 
I  left  a  priest  here. 
Where  has  he  gone? 

CANETTO 
He  has  vanished 
Like  a  coin  flipped  in  the  sea. 

[He  rises,  his  poise  restored. 

UGOLINO 

[To  FIAMMA,  angrily. 
You've  hidden  him.  .  . 

[To  CANETTO 
Her  chamber? 

CANETTO 

[His  eyes  and  FIAMMA'S  meet. 
No.  .  .  I  searched. 

UGOLINO 
Beneath  here,  then? 


118  SWORDS  [ACT  in 

CANETTO 
I  had  not  thought  of  that. 

UGOLINO 
I'll  look  for  him. 
Where  is  my  sword? 

[The  sword  is  still  lying  at  FIAMMA'S  feet.    UGO 
LINO  sees  it.] 

Why  does  my  sword  lie  there? 
You  have  been  playing  with  my  sword. 

CANETTO 
Was  it  play? 
I  scarcely  know. 
Give  me  the  weapon,  Master.    Let  me  search. 

[He  looks  again  at  FIAMMA  as  he  opens  the  trap. 
Have  I  your  leave,  Madonna? 

FIAMMA 
You  will  find.  .  .  nothing.  .  . 

CANETTO 

[Mockingly. 
I  will  find — nothing.  .  . 

[He  goes  down,  the  naked  sword  in  his  hand. 

UGOLINO 

[To  FIAMMA. 
Where  are  your  lips? 

Where  is  their  blood?    The  texture  of  your  cheeks 
Is  changed  to  whiteness  like  the  foam. 

FIAMMA 
The  foam 
Of  waters  churned  and  beaten  against  the  rocks.  .  . 


ACT  m]  SWORDS  119 

UGOLINO 

Swear  you  have  not  seen 
Damiano  in  this  place? 
I  love  you  so.    Do  not  betray  my  love. 

FIAMMA 
My  lord.  .  .  . 

UGOLINO 
Not  to  my  enemy. 

FIAMMA 
Release  me. 

UGOLINO 

No  .  .  .  No  .  .  .  and  no!     This  monk 
Was  not  his  messenger?    Swear,  Fiammal 

FIAMMA 
I  swear  that. 

[UGOLINO  makes  to  go  toward  the  opening  of  the 

trap.] 

You  heard  .  .  . 
The  answer  I  returned  his  Holiness? 

UGOLINO 
Oh,  Fiammal 

FIAMMA 
Still  you  doubt  me.  .  .  . 

UGOLINO 
No. 

FIAMMA 
You  do. 

UGOLINO 

I  know  that  I  am  mad.    You  madden  me.  .  .  . 
If  he  were  here.  .  .  if  he  were  here.  .  .  ah,  God! 

FIAMMA 
What  empty  words! 


120  SWORDS  [ACT  in 

UGOLINO 

You  ghoul  .  .  .  you  saint  .  .  . 
Or  he  ...  or  I? 
Fiamma,  where  is  he? 

FIAMMA 
Who? 

UGOLINO 
Damianol 
Damiano! 

FIAMMA 
Do  I  know? 

UGOLINO 
Damnation  I 
You  lie  to  me  ...  you  lie  .  .  5 

FIAMMA 
I  swear.  .  .  . 

UGOLINO 
No  ...  No.  ... 

You  lie  to  me.  .  .  . 

[With  his  clenched  fists  he  threatens  her.  She  stands 
unmoved. ] 

CANETTO 

She  does  not  lie,  Master. 

[He  emerges  at  this  moment. 
I  have  found  no  one. 

UGOLINO 

[Breaking  again. 
Oh,  forgive  me,  Fiamma. 

[His  head  jails.  He  brushes  his  hand  across  his 
brow  as  though  to  clear  his  mind.  He  moves  list 
lessly  away.  Presently  he  sees  the  arras  behind 
which  he  and  CANETTO  hid  in  the  opening  scene. 


ACT  m]  SWORDS  121 

His  suspicion  aroused,  he  looks  behind  it.    He 
goes  searching  about.} 

CANETTO 

Madonna,  see  ... 
The  blade  is  clean  .  .  . 
There  is  no  blood  upon  it  ... 

[FIAMMA  bends  quickly  over  the  trap.  She  seems 
to  make  some  sign  to  DAMIANO.  CANETTO  stops 
her. 

Leave  him  in  hiding,  Fiamma. 
The  moment  for  your  rescue  has  not  come. 

[He  closes  the  trap. 
FIAMMA 
Silence. 

CANETTO 

Cannot  you  thank  me? 

FIAMMA 

Thinking  on  all  that  hangs,  between  us,  sir, 
I  cannot  find  it  in  my  heart  to  thank  you. 

CANETTO 

It  is  enough  for  me  to  realize 
Some  little  obligation  on  your  part. 

UGOLINO 

[Drunken  murmurings  as  he  searches. 
Where  has  he  gone? 

FIAMMA 

Is  that  your  Christian  purpose? 
Look  to  your  master. 

UGOLINO 
Behind  the  arras?    Shavecrown,  come  out. 


182  SWORDS  [ACT  m 

CANETTO 

Is  it  not  terrible  to  drink 
As  Germans  do? 

UGOLINO 

[Comes  down  from  the  back  where  he  has  been  pull 
ing  the  arras  about.    He  tears  open  his  doublet, 
so  that  his  throat  is  bared.] 
The  wine  befogs  my  sight.    I  cannot  see 
My  bride. 

[He  paws  his  throat. 
Oof!     I  am  better,  so. 
Bring  in  the  feast.    Invite 
The  Captain  of  the  Garrison. 
Music! 

[He  stares  questioningly  at  CANETTO. 
Well?     Well? 

CANETTO 

Presently,  presently,  my  good  master. 

UGOLINO 
What  were  we  looking  for? 

CANETTO 
Eh,  Master? 

UGOLINO 

Was  there  not  a  priest  about? 

CANETTO 
He's  gone. 

UGOLINO 

Fetch  me  another  one. 
What's  a  wedding  without  a  priest? 

CANETTO 
Good  master! 


ACT  m]  SWORDS  128 

UGOLINO 

Why  not,  why  not? 

Now  I'll  have  wine  and  lights  and  lights  and  wine.  .  .  . 

Call  out,  Canetto!     Bid  them  come  to  serve 

My  bride  and  me!     Music! 

[Off  stage  the  sound  of  a  lute  tuning  and  almost  at 
once  the  music  begins.  A  lute  and  a  viola.  And 
AMINA  enters  with  dishes.  Other  servants  follow. 
CANETTO  superintends  the  laying  of  the  table, 
always  with  an  eye  upon  his  master.  Torches  are 
brought  and  set  in  brackets.} 

CANETTO 
Master,  your  dress. 

UGOLINO 
Let  be. 
It's  better  so.    The  room  is  warm. 

[He  is  leading  FIAMMA  to  her  place. 
Tonight 

Is  my  last  night  in  Italy.    To  horse 
Tomorrow,  and  the  windy  road  and  swords, 
Maybe,  Madonna,  but  tonight 
Is  only  Italy. 

[A  gesture  from  FIAMMA  halts  him. 
I  know,  yet,  in  the  end  of  judgment,  grant 
That  to  my  life  a  single  beauty  came 
With  love  of  you.     V^ 

[He  breaks  aown  on  the  verge  of  drunken  tears. 

FIAMMA 
I  pity  you.  .  . 
I  pardon  you.  .  .  . 

UGOLINO 

Pity  me?    Pardon  me?    Oh,  saints  of  heaven! 
Here's  a  woman's  pride. 


124  SWORDS  [ACT  m 

FlAMMA 

No,  Ugolino.  .  . 

UGOLINO 

[The  bully  in  full  swing. 

Madonna  Fiamma,  I  no  longer  fear  you. 

Wine  gives  me  courage. 

Throw  back  your  head,  and  laugh.  .  . 

Laugh  merrily! 

Where's  your  robe? 

Where's  your  crown? 

[One  of  the  servants  makes  to  bring  them  to  her 
from  the  corner  where  they  have  lain  all  this 
time.  She  waves  him  off,  and  CANETTO  motions 
Mm  to  take  them  away.} 

CANETTO 

[Fills  a  glass  with  wine,  lifts  it,  sardonically  exult 
ant.] 

Le  vin  est  bon  et  bel  et  blanc, 
Fort  et  fer  et  fin  et  franc, 
Freit  et  fres  et  fourmijant! 

UGOLINO 
That  song  is  French! 

CANETTO 

Burgundian.  .  .  .  Three  B's  and  seven  F's, 
They  say  in  France,  make  wine 
Worth  drinking.    Shall  I  do  a  trick 
For  you,  my  Master? 

UGOLINO 

Look  on  him,  Fiamma,  look, 
Is  he  not  wise  and  merry? 
When  I  am  Emperor  of  Germany 
I'll  name  Canetto  Chancellor.  .  .  . 


ACT  m]  SWORDS  125 

CANETTO 
Oh,  Master.  .  . 

[He  bows  and  goes  up  the  stairs  to  FIAMMA'S  room. 

UGOLINO 

Fiamma,  pour  wine  for  me! 

Pour  wine  for  me.  .  .  no,  you.  .  .  you  are  my  bride. 

I'll  have  you  serve  me.  .  .  . 

FIAMMA 
To  your  shame, 
Ser  Ugolino,  to  your  sin  and  shame. 

UGOLINO 

[Sweeping  gesture,  drunken  and  imperious,  as  he  sits 

beside  the  woman.} 
All  of  you  turn 

Your  faces  to  the  wall.  .  .  .  ; 
I  love  you,  Fiamma,  I  must  tell  you  so.  .  . 
I  shall  lie  by  you  in  your  tomb,  at  least, 
If  not  in  life. 

FIAMMA 

If  you  can  face  my  hatred  down. 

UGOLINO 

Or  love  or  hate, 

Tonight  is  mine.  .  .  tomorrow  shall  be  mine 

And  ever  after  to  the  well  of  death.  .  . 

Now,  bring  the  dishes  in. 

[The  CAPTAIN  enters  and  sees  the  situation.  He 
comes  toward  the  table  and  lays  his  hand  on  his 
sword  involuntarily.  At  the  same  moment,  CA 
NETTO,  who  has  run  up  the  stairs  to  FIAMMA'S 
chamber,  reappears  with  FIORENZO,  frightened, 
upon  his  shoulders.  The  CAPTAIN,  seeing  him, 
halts.} 


126  SWORDS  [ACT  m 

FlORENZO 

Mother! 

FlAMMA 

[She  turns  and  sees  him.    Furiously,  first  to  UGO- 

LINO,  then  to  CANETTO.] 
Madman,  oh,  madman,  do  you  think  to  teach 
Me  fear  of  you  in  this  wise?    I  will  play 
At  any  game  with  you 
Knowing  I  cannot  lose 
Where  all  is  lost  already  and  long  since.  .  . 

[FIORENZO  hides  his  face  in  FIAMMA 's  dress. 

UGOLINO 

Long  live  my  bride  who  learns  last  to  fear 

Her  master.     My  good  Captain, 

You  are  come  tardily.  .  . 

Be  welcome,  none  the  less.  .  .  Cry  out 

"Long  live  the  bride  of  Ugolino!" 

CAPTAIN 

[He  takes  his  place  at  table. 
Oh,  long  live  Madonna  Fiamma! 

CANETTO 
I  cry  it,  also.  .  . 
Madonna  Fiamma! 

UGOLINO 

Empress  of  Germany,  tomorrow,  Fiamma! 

[  FIAMMA  sits  at  the  table  facing  the  audience.    Her 
face  is  framed  by  the  glimmering  tapers.    She  re 
mains  silent  and  motionless.    Gradually  her  gaze 
^becomes  more  and  more  intense  and  her  face  lights 
with  a  great  ecstasy.] 
[In  the  meantime  the  feast  is  under  way.     The 


ACT  m]  SWORDS  127 

music  continues,  the  stew  and  wine  care  served. 
Soldiers  stand  about  with  torches.} 

UGOLINO 
Canetto,  she's  gloomy.  .  . 

CANETTO 
Gloomy  or  gay,  she's  beautiful. 

UGOLINO 

Rejoice  with  me.  .  .  Fiamma,  rejoice.  .  . 
Oh,  do  you  think  she  hates  me  so? 

CANETTO 
I  think  she  loves  you,  sir,  the  best  of  us. 

UGOLINO 
What  song  was  that,  Canetto? 

CANETTO 

Le  vin  est  bon  et  bel  et  blanc  .  .  . 
Freit  et  fer  et  fourmijant.  .  .  . 

UGOLINO 

Captain,  you're  not  drinking! 
Abstinence  at  this  board  only  confuses.  .  . 

CAPTAIN 
Confuse  confusion,  then,  and  drink  to  Bacchus! 

[Lifts  his  glass. 
Bacchus! 

UGOLINO 

Bacchus,  the  god  of  wine! 
Women  and  bottles.  7"! 
All  womankind  in  a  bottle.  .  . 
I  have  my  bottle.  .  .  I  shall  have  my  woman 
And  stuff  her  in.  , 


128  SWORDS  [ACT  HI 

CANETTO 
Master! 

UGOLINO 
But  I  shall  stuff  her  in  undoubtedly. 

CANETTO 
What's  woman  in  a  bottle? 

UGOLINO 
YouVe  never  loved  a  woman.  .  . 

CANETTO 

[His  eyes  bwning  on  FIAMMA. 
Have  I  not? 

FIAMMA 

[Her  eyes  shinmg. 
-     God.  .  .  oh,  God! 

UGOLINO 

Who  speaks  of  God? 
Blasphemy! 

CAPTAIN 

Better  bring  God  to  filth  than  filth  to  God.  .  .  . 

UGOLINO 
Who  speaks  of  filth? 

FIAMMA 
Oh,  see! 

A  vision  comes  upon  my  eyes.  .  .  a  gate 
Shining  above  the  inevitable  sea, 
That  is  the  floor  of  heaven, 
That  is  the  wilderness  of  earth.  .  . 
I  have  seen  the  heavens, 
The  everlasting  heavens, 
I  have  looked  into  the  radiant  hostelry 
Where  sits  the  Lord  upon  his  burnished  throne. 
His  shoulders  are  so  broad.  .  . 


ACT  in]  SWORDS  129 

UGOLINO 
Give  me  your  throat  to  kiss. 

FIAMMA 

His  eyes  look  kindly  at  me  and  he  speaks 

Saying,  "Whatever  men  may  be 

I  am  the  truth, 

I  am  belief, 

I  am  love.  .  . 

I  am  perfect  justice, 

I  am  the  perfection  of  knowledge." 

Wherefore  I  know  that  I 

Must  have  no  terror  more. 

CANETTO 
Here's  a  sophisticated  world.  .  . 

CAPTAIN 
Great  soul! 

FIAMMA 

I  was  weak  in  body  and  He  carried  me, 
Faint  hearted  and  He  comforted  my  heart, 
I  languished  and  He  spurred  me, 
Sinful  I  was,  and  He  admonished  me, 
Weak  and  He  taught  me  strength.  .  . 

UGOLINO 
I'm  drunk. 

FIAMMA 
.  .  .  Wherefore  I  know! 

UGOLINO 
Ration  the  wine  broadcast  amongst  the  soldiers. 

CANETTO 
No  wine  tonight  for  them. 


130  SWORDS  [ACT  HI 

FlAMMA 

I  am  the  steel  upon  the  anvil, 
The  dreadful  hour  will  temper  me  and  prove  me 
And  gain  me  pardon  in  the  tremendous  eyes 
Of  God. 

CAPTAIN 

Great  soul.  .  .  great  soul! 

UGOLINO 
Wine,  I  say,  to  the  garrison. 

CANETTO 
You're  mad  to  say  it. 

UGOLINO 
How?    Will  you  cross  me? 

CANETTO 

Madonna  speaks  a  sermon,  .->- 

is^~ — 

UGOLINO 

I  want  no  sermons  at  my  wedding  feast! 

FIAMMA 

For  that  I  sought  to  question  and  protest, 
My  vision  was  of  wisdom,  not  of  fate.  .  . 

CANETTO 

[Speaking  at  the  same  time. 
Sermons  and  Aristotle! 

UGOLINO 
What's  Aristotle? 
Is  it  wine? 

CANETTO 
Ohtno,    Philosophy. 


ACT  m]  SWORDS  131 

FlAMMA 

But  many  weaponed  fate  rules  us  no  less, 
For  all  our  wisdom,  and  we  go,  at  last, 
Down  to  defeat,  at  fate's  decree,  and  there, 
From  knowing  God,  find  truth,  upon 
The  uttermost  foundation  stones  and  learn 
The  honesty  and  beauty  of  our  souls. 
What  does  it  matter  how  the  world  is  lost? 

UGOLINO 
I  had  a  wench  before  was  given  to  visions.  .  . 

FIAMMA 

[From  far  above  them. 
What  does  it  matter  how  the  world  is  lost? 
We  four  are  here  assembled  at  a  feast 
Of  life.    This  wine,  this  meat,  these  breads,  these  fruits 
Are  things  inanimate,  transmuted  here 
By  the  stupendous  tension  of  this  hour.  .  . 
These  are  our  very  souls  we  eat  and  drink.  .  . 
What  does  it  matter  how  the  world  is  lost? 

CANETTO 

[A  hoarse  echo. 
What  does  it  matter  how  the  world  is  lost? 

FIAMMA 
I  looked  upon  the  face  of  God.  .  .  I  know! 

UGOLINO 
You  fill  your  heart  with  gloom. 

FIAMMA 
Not  gloom,  but  exaltation! 

UGOLINO 
I'll  take  my  way  with  you! 


132  SWORDS  [ACT  in 

FlAMMA 

Let  be  what  may.  .  .  Beneath  the  eyes  of  God.  .  . 

CAPTAIN 
Oh,  hideous! 

FlAMMA 

I  am  a  ravenous  beast.  .  . 
I  glut  myself  with  life.  .  . 
Devouring.  .  . 

CANETTO 

[Wildly. 
Burning.  .  . 

FlAMMA 

All. 

CANETTO 

[Triumphant. 
I  understand.  .  . 
I  understand.  .  , 

This  is  the  glory  of  the  perilous.  .  . 
This  is  the  lust  of  hazard.  .  . 

FlAMMA 

I  have  not  known  such  joy  in  all  my  days, 
For  I  am  desperate,  at  last,  and  pit 
My  will  against  your  lust,  my  mind  against 
Your  treachery.  .  . 

UGOLINO 
Amen  to  that! 

FlAMMA 

Should  I  tell  you  how 

This  caitiff,  here,  this  true  Canetto,  whom 

You  trust,  bargained  with  me  for  your  betrayal.  .  . 

UGOLINO 
Hah! 


ACT  m]  SWORDS  133 

FlAMMA 

What  would  you  say? 

UGOLINO 
You  lie. 

CANETTO 
Oh,  no.  .  .  she  does  not  wholly  lie. 

UGOLINO 
Not  lie,  you  dog? 

FIAMMA 

Would  you  not,  for  that  crime,  chastise  him? 

CANETTO 
Would  you  not? 

UGOLINO 
If  it  were  true.  .  . 

FIAMMA 

[Even  higher  exaltation. 
I  speak  the  truth.  .  . 
And  with  that  very  sword  of  yours  I  held 
Canetto  from  me.  .  . 

UGOLINO 
What  does  she  say? 

CANETTO 
It  is  the  truth  without  a  doubt,  my  lord. 

UGOLINO 
Canetto,  will  you  not  deny.  .  .  ? 

CANETTO 
Oh,  no.  .  . 

UGOLINO 

With  my  bare  hands 
I'll  tear  your  plotting  head  from  off  your  shoulders. 


134  SWORDS  [ACT  m 

CANETTO 

She  is  a  goad;  she  lashes  me  to  frenzy.  .  . 
Her  words  are  sleet  upon  my  cringing  flesh. 
Salt  in  my  wounds.  .  . 

UGOLINO 
I  see  a  sudden  pitfall.  .  . 

[FIAMMA   and   the    CAPTAIN    watch    this    quarrel 
eagerly.] 

CANETTO 

Against  your  might  I  am  defenseless.    Kill 
Me  if  you  will,  you  know 
What  I  am  worth  to  you. 

UGOLINO 

I  set  my  heel  upon  your  worth, 
Give  me  my  sword.  .  . 

CANETTO 

Cannot  you  take  it  up, 
Master  and  executioner? 

UGOLINO 

[He  lifts  it  up  clumsily  from  the  table. 
Can  I  not? 

CANETTO 

[Spitting  the  words  in  UGOLINO'S  face;  his  master 
stroke  of  blasphemy.]  % 
May  God  receive  my  soul! 


Brother!  My  Oliver! 
My  closest  councillor! 
Why?  Why? 


UGOLINO 

[He  lets  the  sword  jail. 


ACT  m]  SWORDS  135 

CANETTO 
[Turns  from  UGOLINO — Latin  disgust   at   Teuton 

sentimentality.] 
You  ask? 

UGOLINO 
Not  I!    I  do  not  ask! 

CANETTO 

Jealousy  had  been  valuable  to  her.  .  . 
Had  we  two  quarreled.  .  . 

UGOLINO 

[Too  drunk  to  understand. 
Had  we  two  quarreled? 

[Suddenly  he  does  understand. 
Oh  I 

[He  turns  from  CANETTO  to  FIAMMA.    She  laughs 

triumphantly.  ] 

You  thirsty,  scheming  woman,  you.  .  . 
Look  into  my  eyes.  .  . 
Where  is  your  courage  gone? 

[His  left  hand  darts  out  and  grips  her  shoulder.    He 

forces  her  to  her  knees.] 
Howl  I 
Howl! 

You  crow.  .  .  you  crow.  .  . 
I'd  give  you  to  Canetto,  do  you  hear? 
I'd  give  you  to  the  soldiers, 
But  that  I  love  you  so.  .  .  wherefore.  .  . 
I  kill  you,  Fiamma.  .  . 

[He  lifts  the  sword  which  his  right  hand  has  gripped 
all  the  while,  and  is  about  to  strike  FIAMMA.] 

CANETTO 

[With  a  hoarse  cry  springs  from  his  chair  at  UGO- 
LINO'S  throat.] 

No!  !  ! 


136  SWORDS  [ACT  in 

[The  sudden  assault  carries  UGOLINO  clear  of  FIAM- 
MA  and  the  sword  flies  out  of  his  hand.] 

[FIAMMA  stands  back  from  the  struggling  men  be 
side  the  foot  of  the  stair  where  the  torches  of  pitch 
pine  shed  their  full  light  upon  her.  FIORENZO 
goes  to  her.} 

CANETTO 

[Breaks  free  from  UGOLINO. 
There  is  another  guest  .   .   . 
Unbidden  to  the  feast. 
Do  not  kill  the  woman,  Master. 
I  have  a  better  victim  I 
Fiamma,  shall  I  call  up  Damiano,  now? 

CAPTAIN 
Yes! 

FIAMMA 
Damiano  1  Damiano! 

CAPTAIN 

The  signal  with  the  torch,  Madonna  Fiamma! 
Damiano 's  men! 

CANETTO 

[He  makes  for  the  trap  and  opens  it. 
Come  up,  Damiano.  .  . 

UGOLINO 

[Too  blind  with  jury  to  observe,  he  flings  himself 

bellowing  on  CANETTO.] 
You! 

[They  overturn  the  table  in  their  struggle. 
[Clad  now  in  shining  mail,  his  naked  sword  in  his 
hand,  DAMIANO  comes  up  out  of  the  trap.] 

[The  servants  flee,  screaming. 


ACT  m]  SWORDS  137 

DAMIANO 

You,  Captain,  to  your  gates.  .  .  The  signal,  Fiammal 
[The  soldiers  attack  him.    He  kills  one  but  the  other 
with  a  chair  drives  him  back  against  the  stair.} 

FIAMMA 

[A  great  cry. 
Ah] 

[She  snatches  a  blazing  torch  from  a  soldier. 
[DAMIANO,  driven  back,  swings  his  sword  in  flash 
ing  circles  to  defend  the  stair.] 

CANETTO 

[Wriggling  free  from  UGOLINO. 
The  monk  in  maill 

UGOHNO 

[Pulls  himself  to  his  feet. 
Fiamma!     Where  is  my  sword? 

DAMIANO 

The  attack,  Fiamma,  signal  the  attack  1 

CANETTO 
Signal  your  doom! 

FIAMMA 

[She  goes  up  the  stair. 
Soldiers  of  Damiano! 
Soldiers  of  Christ  1 
Soldiers  of  Mary  Queen! 
Soldiers  of  God! 
Hear  me! 
I  am  Fiamma! 

[She  stands  with  FIORENZO  at  the  window  of  the 
gallery.  A  great  shout  greets  her  from  the  sea. 
The  radiance  of  the  torch  shining  upon  hert  she 
is  a  figure  of  colossal  stature.] 


138  SWORDS  [ACT  in 

This  is  the  flame  of  my  hour! 

This  is  the  flame  of  my  need! 

This  is  the  flame  of  my  summons! 

Men  of  Damiano  hiding  on  the  sea 

To  the  attack! 

I,  Fiamma,  cry  it  to  the  desperate  night! 

A  rescue.  .  . 

A  rescue.  .  . 

DAMIANO 
A  rescue! 
A  rescue! 

[UGOLINO  crashes  drunkenly  amidst  the  debris  of 
the  table.] 

CANETTO 

[Rushes  out,  crying: 
I  shall  come  back  for  you,  Damiano. 
The  gates!     The  gates! 

[The  tumult  of  the  attack  begins.    Her  clear  voice 
dominates  it.] 

UGOLINO 
Preserve  us,  God,  this  is  the  escalade.  .  . 

CANETTO 

[Outside. 
The  Emperor!     The  Emperor! 

[The  alarm  bell  sounds,  trumpets  blare. 

FIAMMA 

Oh,  flame!     Oh,  flame!     Oh,  flame! 

Beacon  upon  the  sea, 

Laughing, 

I  hold  you  high  against  the  firmament, 

Laughing, 

I  throw  your  splendor  far  upon  the  waters, 

Laughing,  I  lift  you  to  my  battle  shout! 


jr 

ACT  m]  SWORDS  139 

\«      [The  tumult  of  the  attack  is  at  its  height.    The  doors 
of  the  castle  are  crushed  by  great  blows.} 

Flame,  flame,  oh,  flame! 

Burn  them! 

Destroy  them! 

Stifle  them! 

You  are  the  breath  of  the  Lord! 

You  are  the  blood  of  the  Savior! 

You  are  the  crown  of  the  Mother! 

[To  and  fro,  across  the  stage,  the  fight  swirls  and 
eddies  beneath  FIAMMA.  Now  they  are  on  the 
stair,  now  in  the  doorway.  DAMIANO'S  men,  DAM- 
IANO  himself ,  the  soldiers  of  the  garrison,  CANETTO 
— a  mad  blaze  of  sword  blades.] 

Glory  of  stars!     Glory  of  suns  and  suns! 

I  burn  my  life  out,  glowing  in  this  torch! 

I  hurl  my  life  away.  .  .  I  shout!    I  sing! 

I  am  triumphant! 

I  loose  destruction  on  this  place!     I  leap 

Winged  across  the  sea  upon  your  light! 

I  am  the  angel  of  the  flaming  sword! 

I  am  Fiamma! 

I  am  Fiamma  I 

I  am  Fiamma  1 

I  am  the  cause!    ^ 

I  am  the  right!     &W- 

I  am  the  woman!  I 

Excalibur,  born  of  my  strength, 

Scatter  their  souls  upon  the  windy  sea, 

Scorch  them  to  cinders  in  the  furnaces    / 

Of  Hell.  .  .  Be  vengeance  to  me!     Oh,  be  vengeance! 

Be  splendor,  oh,  be  splendor! 

Excalibur.  .  .  Excalibur.  .  . 

Kindle  them!_~i- 

Inspire  them! 

Create  them!  . 


140  SWORDS  [ACT  in 

Enswathe  them! 

Lend  them  your  terror! 

Lend  them  your  light! 

Lend  them  your  beauty! 

Out,  flame,  I  fling  you,  blazing,  to  your  prey, 

Out  to  the  sea.  .  . 

Into  the  night.  .  . 

Against  the  stars! 

[She  flings  the  torch  forth.     The  curtain  jatts. 


THE  FOURTH  ACT 

The  curtain  rises  again  as  soon  as  may  be.     The  scene 

and  situation  are  unchanged.     The  action  has  not 

been  interrupted. 
FIAMMA  is  seen  dimly  against  the  window.     She  holds 

her  breath  and  watches.     FIORENZO  is  beside  her. 

The  turmoil  of  the  escalade  continues. 
Two  of  DAMIANO'S  soldiers  break  in  through  the  door. 

They  attack  CANETTO  who  kills  one  of  them.    The 

other  blocks  the  stair. 

UGOLINO 

[Struggling  to  his  feet. 
Crossbows!     Where  are  your  crossbows? 

CANETTO 
The  Emperor!     The  Emperor! 

SOLDIER 

[DAMIANO'S  man,  fighting  CANETTO. 
Master,  make  for  the  window!     Leap  for  the  boats! 

DAMIANO 

What  has  happened? 

SOLDIER 
We  were  betrayed! 

[CANETTO  wounds  him. 
Ah! 

[He  manages  to  clinch  with  CANETTO. 
141 


142  SWORDS  ACT  iv] 

DAMIANO 
[He  bounds  up  the  stair  which  is  blocked  by  the 

struggle.] 

We  are  betrayed.  .  . 
Now,  Fiamma,  now.  .  . 

FIAMMA 
Damiano.  .  . 

A  SOLDIER 

Damiano 's  men  are  beaten! 

FIAMMA 
Ah,  leap  into  the  sea! 

DAMIANO 
And  leave  you? 

FIAMMA 
I  shall  leap  after! 

DAMIANO 

Throw  me  the  child,  then. 
The  boats  are  there. 

[He  springs  through  the  window,  his  sword  still  in 
his  hand.] 

FIAMMA 

[A  great  cry. 
Ah!  ... 

[CANETTO    strikes    down    the    soldier   who    aided 
DAMIANO  and  leaps  up  the  stair.] 

FIAMMA 
Now,  to  my  aid,  oh,  God! 

[She  lifts  FIORENZO  to  the  ledge  of  the  window  but 
CANETTO  is  too  quick  for  her.] 

CANETTO 

[Holding  FIORENZO. 
Not  he,  Madonna.  .  . 


ACT  iv]  SWORDS  145 

UGOLINO 
Does  he  swim,  Canetto? 

CANETTO 

[At  the  window. 

He  churns  the  water  with  his  arms.  .  . 
The  water  shines  about  him.  .  . 

DAMIANO 

[A  voice  of  agony  from  the  sea. 
Fiamma,  oh,  Fiamma.  .  . 

FIAMMA 

Ahl  .  .  We  were  betrayed!     We  were  betrayed! 

[An  intense  silence. 
CANETTO 

Give  me  a  crossbow.  .  . 
Give  me  a  crossbow,  one  of  you.  .  . 

FIAMMA 
Oh,  no.  .  . 

[The  crossbow  is  handed  to  him. 

UGOLINO 
Silence.  .  .  Canetto  shoots.  .  . 

CANETTO 

How  white  his  face  is  even  in  the  foam.  .  . 

[He  has  aimed  and  shoots  quickly. 
I  have  killed  Damiano. 

UGOLINO 
God  sped  the  shaft,  .  . 

CANETTO 
A  boat  for  him.  ,  .  a  boat.  , 


144  SWORDS  [ACT  iv 

UGOLINO 
No,  let  him  sink.  .  . 

CANETTO 

This  dripping  carrion  shall  be 
Madonna's  wedding  gift. 

UGOLINO 
Oh,  yes! 

CANETTO 

A  boat.  .  .  a  bow.  .  .  a  barcarolle.  .  . 
After  him,  all  of  you.  .  . 
Leave  us  alone. 

[The  others  follow. 
FIAMMA 
Murderer.  .  .  murderer.  .  . 

CANETTO 

You  who  thought  to  outwit  Canetto's  wits.  .  . 

One  thing  you  did  not  know,  Madonna  Fiamma, 

How  every  passage  of  this  castle  hid 

Its  master's  soldiers  crowded  in  together 

Like  arrows  in  the  quiver.  .  . 

The  soldiers  of  the  Emperor,  secretly 

Brought  here  this  night  by  me. 

Even  the  Captain 

He  did  not  know. 

Your  ambuscade  came  to  a  sorry  end. 

Madonna  Fiamma.  .  . 

[He  goes  quickly  and  without  a  sound. 

[FIAMMA  catches  her  breath  in  short,  dry  sobs.    She 

comes  unsteadily  down  the  stair.    She  goes  to  the 

door  and  stands  listening.    FIORENZO  watches  her 

fearfully.] 

[A  great  shout  from  the  sea. 


ACT  iv]  SWORDS  145 

CANETTO 

[Calls  out  behind  and  below. 
Madonna  Fiamma.  .  .  Madonna  Fiamma.  .  . 
Here's  for  your  arsenal! 

[A  sword  is  flung  in  the  door  and  jails  clattering  on 
the  stage.} 

FIAMMA 

[Falls  upon  it,  crying  out  in  terrible  agony. 
Damiano! 
Damiano ! 

FIORENZO 

I  am  frightened,  Mother.  .  . 
Mother,  what  is  that  sword? 
Mother.  .  . 

FIAMMA 

[Struggles  to  her  knees  and  prays  frantically.    She 
presses  the  cross-hilt ed  sword  against  her  heart. 
The  words  of  her  prayer  are  a  broken  and  in 
audible  murmur.} 
Amen.  .  .Amen.  .  . 

[Prayer  continues. 

[UGOLINO  drops  upon  his  chair  and  watches  stu 
pidly.} 

[CANETTO  enters. 

FIAMMA 
Amen  .  .  .  Amen  .  .  . 

CANETTO 

Do  not  forget  me  in  your  prayers,  Madonna, 
There  is  no  single  soul  in  all  the  world 
Has  such  a  need  as  mine  of  intercession. 

[Something  in  him  comes  to  life.    With  a  very  sim 
ple  sincerity  he  adds:] 


146  SWORDS  [ACT  iv 

I  am  a  jongleur,  who  has  learned  too  late, 
God  meant  him  for  a  man. 

[He  comes  over  to  her. 
I  did  not  kill  Damiano. 

FIAMMA 
Ah! 

[She  rises  to  her  jeet  and  faces  him. 

CANETTO 

His  Moorish  mail  was  strong.  .  . 
Your  prayers  were  strong,  Madonna. 

FIAMMA 
Oh,  blessed  Virgin! 

CANETTO 
Pray  and  pray! 

It  may  be  that  you  saved  him! 
The  brave  discharge  of  your  conspiracy 
Failed  signally  only  because  you  did  not  know   Ca- 
netto. 

FIAMMA 
Amen,  I  say. 

CANETTO 
So  easily! 

FIAMMA 

We  come  and  go  and  laugh 

A  little  and  endure  our  tears 

As  bravely  as  we  may.  .  .  Amen  is  all. 

Do  with  us  as  you  will.    My  son  and  I 

Have  no  more  resource  left. 

[The  sound  of  shuffling  feet  in  the  passage  off 
stage  L.,  the  sound  of  men  carrying  a  heavy  bur 
den.] 


iv]  SWORDS  147 

CANETTO 

Well,  we  shall  see.    Here  is  your  husband,  Fiamma, 

My  captive  for  the  moments  that  are  left 

Upon  his  dial  of  life. 

[As  he  speaks,  jour  soldiers  enter  carrying  between 
them  the  dripping  form  of  DAMIANO  lashed 
upon  a  rough  bench.  He  is  not  quite  uncon 
scious.] 

He  blows  salt  water  bubbles  when  he  breathes. 

How  comical  a  tragedy! 

[ FIAMMA  bends  silently  over  him. 

Fiamma,  I  pity  you,  you  did  not  know 

What  power  opposed  you. 

He  is  not  sorely  wounded. 

He  will  revive. 

FIAMMA 
And  afterwards? 

CANETTO 
Who  knows? 

FIAMMA 
He  will  be  killed? 

CANETTO 
What  else? 

FIAMMA 
And  by  what  means? 

CANETTO 

[Smiles. 

Here's  deep  revenge  exacted  and  between 
This  present  and  the  aftermath  of  death 
Exaction  must  be  perfect. 
We  shall  determine  on  the  means, 
My  master  and  myself. 
Ah,  and  you,  too! 


148  SWORDS  [ACT  iv 

FlAMMA 

Little  Fiorenzo, 

This  is  the  hour  your  manhood  comes  to  you. 

Stand  where  your  father's  eyes  may  see  you  first, 

When  they  have  cleared.     His  look 

Will  be  your  accolade  for  life. 

Damiano,  speak  to  me.  .  . 

DAMIANO 
Fiamma!     Is  it  death? 

FIAMMA 

There  is  no  death.  .  . 
And  there  is  no  defeat.  .  . 
We  are  too  strong. 

DAMIANO 
We  were  betrayed. 
I  shall  die.  .  . 

FIAMMA 
Give  me  your  hand. 

DAMIANO 
My  love.  .  . 

FIAMMA 

We  two  have  loved.    That  is  the  link  between 

God  and  ourselves.    You  see, 

Damiano,  what  an  empty  thing  is  death. 

Only  our  houses  that  we  leave  behind 

Are  dead.  .  . 

There  but  the  wind  speaks  in  the  empty  rooms, 

There  but  the  wind  walks  on  the  empty  stairs, 

Emptiness  there.    But  we!     How  splendidly 

We  two  stand  in  the  light, 

Together! 

DAMIANO 

I  have  fought  always.    I  could  wish 
That  I  had  died  in  this  immediately.  .  . 


ACT  iv]  SWORDS  149 

FlAMMA 

A  song,  a  laugh,  a  sob.  .  .  and  darkness  after.  .  . 
And  then  the  sun  again  forevermore. 

DAMIANO 

I,  in  the  fullest  blooming  of  my  summer, 
Must  gravely  laugh  and  go  to  the  supreme, 
Making  no  question  and  no  argument. 
What  will  become  of  you? 

FIAMMA 

You  shall  not  go 
Alone  away  from  here. 

FIORENZO 
Mother,  you  will  not  leave  me  here? 

FIAMMA 
Oh,  no, 
Fiorenzo! 

DAMIANO 
What  of  Fiorenzo? 

FIAMMA 

What  of  my  heart  is  his  will  stay  with  him 
Holding  my  body  to  protect  his  growth, 
What  of  my  heart  is  yours  will  go  with  you, 
Taking  my  soul  to  bear  you  company. 

DAMIANO 
I  am  content. 

[He  falls  back. 
CANETTO 
Bring  in  the  other. 

[He  speaks  to  a  soldier  who  appears  in  the  doorway. 

Two  more  soldiers  appear.] 
These  corpses.  .  . 


150  SWORDS  [ACT  iv 

[He  indicates  the  dead  bodies  which  still  he  on 

the  stage.} 
Our  little  supper  is  not  eaten  yet.  .  . 

[To  a  soldier  who  is  not  carrying  out  the  dead. 
Set  this  to  rights. 

[The  soldier  proceeds  to  restore  the  table,  etc. 
The  wine  is  not  yet  drunk  that  we  would  drink. 
Master,  you  must  choose  now. 
Shall  it  be  vengeance,  now? 
Or  love? 

For  the  occasion  offers  either, 
Developed  to  a  nicety  so  subtle 
It  were  a  pity  to  confuse  the  two. 

UGOLINO 
What  is  the  end? 

CANETTO 

The  end  is  death, 
The  sedative  of  human  misery. 

UGOLINO 
Get  quickly  there. 

CANETTO 

In  time — in  time,  good  master.  .  . 
Once  you  have  made  your  choice 
Between  your  vengeance  and  your  love. 

UGOLINO 
I  will  not  choose. 

CANETTO 

You  must  choose  one. 
You  must  give  one  or  the  other. 

[A  look  of  jury  from  UGOLINO. 
I  have  served  you  well  tonight. 

UGOLINO 
Give  me  the  woman,  then. 


ACT  iv]  SWORDS  151 

CANETTO 

[A  long,  bitter  look  at  her. 
Beside  my  master,  Fiamma! 

UGOLINO 

[A  cry  of  almost  boyish  despair. 
Fiamma!     My  Fiamma  that  I  hate  and  love 
So  wretchedly  to  my  defeat,  relent  1 

CANETTO 
So! 

Tonight's  an  orgy,  now. 

I'll  suck  the  occasion  dry  of  what  it  holds.  .  . 
I  have  not  yet  begun.  .  . 
Here  is  the  man  she  loves,  here  is  the  child. 
Since  I  have  lost  her  love  for  me,  I  wreck 
My  will  upon  her  love  for  them  and  find 
Such  satisfaction  as  I  may. 

[He  throws  himself  upon  the  stool  whereon  he  sat 

before.] 
Where  is  my  page? 

[Sees  FIORENZO 
Come  fill 

My  master's  glass  and  mine.  .  . 
Before  your  father's  spirit  joins  the  stars 
I'll  have  him  see  you  in  future  state 
Of  serving  me.    The  glass,  I  say,  the  glass.  .  . 

FIAMMA 
Oh,  no.  .  . 

DAMIANO 

Do  with  me  as  you  will.    Spare  him. 

CANETTO 
Pour  wine. 
Pour  wine.  . 


152  SWORDS  [ACT  iv 

FIAMMA 
Oh,  no.  .  . 

[FIORENZO  obeys. 
CANETTO 

You  see  how  well  he  learns? 
The  child  is  hungry. 

[He  tosses  a  scrap  of  meat  to  FIORENZO. 
Here's  for  your  appetite! 

FIAMMA 

[Snatching  FIORENZO  to  her. 
No! 

CANETTO 
He  is  my  page.  .  .  who  might  have  been  a  prince. 

DAMIANO 
Knave.  .  .  knave.  .  .  knave.  .  . 

[Struggles  to  break  free.    The  guards  hold  him. 

FIAMMA 

God  reckons  with  you!     Ugolino, 
You  will  not  tolerate  this  horrid  business? 

UGOLINO 
This  sickens  me,  Canetto. 

[A  soldier  enters  leading  the  CAPTAIN.    His  hands 
are  bound,  his  head  is  bloody.} 

CANETTO 

Captain,  you  come  in  time.    Your  treachery 
Will  presently  be  rewarded, 
But,  for  the  moment,  we  resume  our  feast, 
Your  seat  awaits  you. 

CAPTAIN 

Madonna,  I  regret 
Nothing  that  I  have  done, 


ACT  iv]  SWORDS  153 

Nothing  that  I  may  suffer.  .  . 
God  be  with  you. 

[FIAMMA  bows  her  head. 

[Now,  except  that  the  table  is  not  lighted  as  before 
with  candles,  the  composition  of  the  picture  is  the 
same.] 

[The  upper  reaches  of  the  tower  are  dark  with 
the  lustreless  quality  which  precedes  the  dawn. 
Gradually  a  faint  gray  appears  in  the  sky  and 
the  upper  walls  emerge.} 

CAPTAIN 

Here  are  we  four  again  and  as  we  were 
At  Fiamma's  feast  of  life 
That  was  illuminate  with  hope, 
That  pulsed  with  sorrow.  .  . 
Here  are  we  four  again, 
With  fruits  and  breads  and  meats  and  wines 
No  more  transfigured  into  living  things. 
The  light  of  hope  is  gone  from  us.  .  . 
Ashes,  forevermore. 

CANETTO 
Captain, 
Are  you  prepared  to  die? 

CAPTAIN 
Better  than  you. 

CANETTO 
No  doubt  and  far  more  like. 

FIAMMA 
Oh,  God,  I  cry  to  you  for  justice  I 

CANETTO 
Cryll! 

There  is  no  reason  here.  .  .  . 
Only  that  I  will  glut 


154  SWORDS  [ACT  iv 

My  senses  'till,  for  weariness, 

They  shrink  from  satiation. 

Why  take  the  woman,  Master,  since  for  me 

Love  is  not  possible, 

Give  me  your  vengeance,  rather;  let  me  teach 

You  what  delight  there  is  in  cruelty. 

Certainly  I  shall  put  Damiano 

To  some  insidious  torture, 

Then  I  shall  sleep. 

I'm  tired! 

CAPTAIN 

Canetto  ...  oh,  Canetto.  .  .  . 

CANETTO 

[The  terrible  jester  is  his  element. 
Were  I  a-straddle  of  the  pit  of  hell 
I  should  go  on  with  this  and  drain  my  life 
Tonight  of  its  sensation.    I  am  goaded, 
Goad  .  .  .  spur  and  whip  .  .  .  a-gallop  to  the  end! 

[A  soldier  enters  m  haste 
What  is  this  interruption? 

THE  SOLDIER 
Ser  Canetto, 
Another  messenger  is  come  from  Rome.  .  .  . 

CANETTO 

Rome  I 

Why  do  the  crows  flock  here?    This  is  the  second. 

THE  SOLDIER 
Messire  Canetto,  here's  another  matter. 

CANETTO 
They  have  their  answer.  .  .  . 


ACT  iv]  SWORDS  155 

THE  SOLDIER 
No.  ... 

CANETTO 

Say  what  you  fear, 
You  quavering  fool! 

THE  SOLDIER 

The  mainland  is  in  arms, 
The  boats  are  out. 

CANETTO 
Fishers  and  farmers! 

THE  SOLDIER 
The»Pope  has  spoken. 

CANETTO 
Idiot!    What  of  that? 

THE  SOLDIER 

A  price  upon  your  head  and  Ugolino 
Is  excommunicated.  .  .  . 

CANETTO 

[With  a  great  shout  of  laughter. 
Master,  the  church  has  barred  you  from  its  shelter  1 
Up  Master,  up!     What's  this?    Asleep?    Oh,  no! 
And  in  your  cups  beneath 
This  terrible  arraignment? 
How  great  the  power  of  anathema, 
That  all  the  blighting  curses  of  the  church 
Cannot  arouse  one  drunkard's  sleep! 
Curse  God  and  man  and  live  forever  more! 

[To  the  soldier. 
Go,  man  the  gates  again. 
Hold  off  the  boats. 

Call  Jacopone  here  to  me  ...  oh  ... 
Fashion  me  crosses,  I  will  have  three  crosses, 
And  set  them  on  the  battlements.    The  sun 


156  SWORDS  [ACT  iv 

Shall  find  six  fish  eyes  staring  out  to  sea 

To  greet  his  rising. 

Three  carcasses,  stiff  in  the  morning  wind. 

These  traitors  are  the  thieves,  this  child  the  savior 

Upon  my  Calvary.    And,  at  their  feet 

This  weeping  Magdalen  who  led  Crusades. 

Get  hence  about  my  orders. 

Where's  Jacopone? 

Life  will  have  life,  lust,  lust  and  death 

Cries  out  for  company. 

Oh,  world,  world,  world! 

I  love  thee  more  than  heaven. 

[The  soldier  has  gone.  Only  one  remains.  JACO 
PONE  enters.] 

Good  Jacopone,  it  must  be  the  rack.  .  .  . 
Our  time  is  short., .  .  .  Take  torches  and  go  down.  .  .  . 
Carry  Damiano  after.  .  .  . 

FIAMMA 
Mercy  .  .  .  mercy.  .  .  . 

CANETTO 

Will  God  be  merciful  to  me?    I  fill 
This  moment  to  the  brim.    Let  be  what  may.  .  .  . 

[He  strikes  her  out  of  his  way. 

DAMIANO 
God  keep  you,  Fiamma.  .  .  . 

FIAMMA 

Not  alone.  .  .  I  come.  .  . 
Along  with  you. 

[The  trap  has  been  opened  and  JACOPONE  goes 
down.  He  illuminates  torches  below.  The  smoky 
red  light  shines  up.} 

DAMIANO 

[As  FIAMMA  clings  to  him. 
Farewell. 


ACT  iv]  SWORDS  157 

CANETTO 

Down,  take  him  down  .  .  . 

[The  soldiers  take  DAMIANO  down  into  the  pit. 

FIAMMA 

Have  you  no  mercy? 

CANETTO 

None  .  .  . 

FIAMMA 

No  price? 

CANETTO 

No  price  that  you  will  pay. 

FIAMMA 

Oh,  God! 

[CANETTO  is  beside  himself.    He  rushes  to  the  edge 

of  the  pit.} 
Murderer  .  .  .  murderer  .  .  .  murderer  1  .  .  . 

CANETTO 
This  is  the  festival  of  Lucifer! 

FIAMMA 
Oh,  now  ...  and  in  God's  name,  Canetto! 

CANETTO 

Lucifer!  .  .  .  Lucifer. 

[A  soldier  appears  in  the  window. 

THE  SOLDIER 
Messire  Canetto.  .  .  . 

CANETTO 
Harder.  .  .  . 
I  cannot  hear  him  scream.  .  .  . 


158  SWORDS  [ACT  iv 

THE  SOLDIER 

[Shouting. 
Messire  Canetto! 

CANETTO 

[Pausing,  exhausted, 
.  .  .  What? 

THE  SOLDIER 

Three  galleys  in  the  east.  .  . 
Three  galleys  loom  against  the  sky.  .  . 
They  come  upon  us. 

CANETTO 
The  Pope  in  arms  .  .  .  how  soon? 

THE  SOLDIER 
An  hour. 

CANETTO 
An  hour.  .  . 

That's  a  year  to  me.  .  . 
Harder.    I  cannot  hear  him  scream.  .  . 
Go  up  and  watch  .  .  . 

[The  soldier  disappears. 

[FIAMMA  has  snatched  a  knife  from  the  table  and 
leaps  toward  the  trap  where  CANETTO  stands.} 

CANETTO 

[Catching  her. 
Oh,  no  ... 

FIAMMA 
Great  God  .  .  . 

CANETTO 

[Shouting  down  into  the  pit. 
Damiano,  she  would  have  killed  you  .  .  . 
Mercifully.  .  .  . 

DAMIANO 
Fiamma  . 


ACT  iv]  SWORDS  159 

[FIORENZO,  who  has  cowered  terrified  in  the  corner, 
suddenly  flings  himself  kicking  and  screaming  at 
CANETTO.] 

CANETTO 

[Frees  I  IAMMA  and  seizes  FIORENZO  with  a  shout  of 

triumph.] 
Here  is  the  proper  end.  .  .  .  Let  be  the  father.  .  .  . 

[From  the  pit  the  shouts  of  DAMIANO  and  JACO- 
PONE'S  voice.  The  sound  of  a  blow  and  DA 
MIANO 's  groan.  A  fall.  CANETTO  goes  partly 
down.] 

CANETTO 

Damiano  .  .  .  have  you  killed  him? 

JACOPONE 
No,  he's  only  stunned.  .  .  .  He'll  come  around.  .  .  . 

CANETTO 

So  ...  then  .  .  . 
Put  on  the  child. 

[FIAMMA  has  stood  very  near  CANETTO.  Now  she 
reaches  toward  him  and  grips  his  arm.] 

[He  turns  toward  her  and  looks  into  her  face. 
There  is  no  mistaking  what  she  means.  He  looks 
at  her  a.  breathless  moment.  An  inaudible  ex 
clamation  escapes  his  lips.} 

[Liberated  by  CANETTO,  FIORENZO  runs  to  the  CAP 
TAIN.] 

[Horrified,  the  CAPTAIN  rises  from  his  seat.  His 
arms  envelop  FIORENZO  and  press  the  child's  face 
against  his  body.] 

[CANETTO  staggers  back,  shuddering.} 

CANETTO 
[Dizzily  he  brushes  his  hand  across  his  mouth  and 


160  SWORDS  [ACT  iv 

eyes  and  then  comes  to  himself.     He  goes  to 

UGOLINO.] 
Asleep? 

CAPTAIN 

Madonna  Fiamma, 
No  good  is  in  this  bargain. 

CANETTO 

Silence,  old  loon.  .  . 
Madonna  Fiamma, 
Upon  what  terms,  precisely? 

FIAMMA 

Those  two  go  free,  out  of  this  place,  with  all 
Immediate  haste.    To  safety. 

CANETTO 
And  yourself? 
What  will  you  do? 

FIAMMA 

What  you  may  ask  of  me 
Until  I  weary  you. 

CANETTO 
Have  you  gone  mad? 

FIAMMA 
Oh,  no.    I  pay  your  price. 

CANETTO 
You  sober  me. 
I  do  not  buy. 

FIAMMA 
You  must. 

My  husband  and  my  child.  ...  I  give  the  rest 
If  me  to  you  in  payment. 

CANETTO 
[Moved,  probably  for  the  first  time  in  his  life. 


ACT  iv]  SWORDS  161 

What  are  you  thinking,  Fiamma? 

I  am  a  dog,  a  kennel  is  my  lodging.  .  .  . 

FIAMMA 

My  bargain  stands  unaltered. 
I  am  prepared  to  share  your  kennel  with  you, 
To  sleep  beside  you  in  your  mire,  to  eat 
Foul  flesh  with  you. 

CANETTO 
No,  Fiamma. 

FIAMM 

An  hour,  a  night,  a  lifetime, 
If  they  go  free.  .  .  . 
I  know  you  have  no  mercy. 

CAPTAIN 
God! 

FIAMMA 

I  do  not  think  God  will  condemn  this  act, 
But  in  some  mystic  way 
Find  it  acceptable. 

CANETTO 
You  do  this  proudly. 

FIAMMA 
I  am  not  ashamed. 

CANETTO 

In  all  my  life  I  have  not  seen  such  courage. 
If  I  should  die  in  this  it  were  well  worth 
So  small  a  sacrifice. 
I  own  to  the  temptation,  but  I  resist. 
For  all  I  said,  my  habits  are  too  strong. 
I  will  not  be  a  traitor  to  my  lord.  .  . 
And,  lest  you  tempt  me  further, 

[He  calls  down  into  the  pit, 
Jacopone, 
Finish  him. 


162  SWORDS  [ACT  iv 

FlAMMA 

I  think  you  love  me. 

CANETTO 

[Holding  his  hand  out  to  JACOPONE  in  the  pit. 
Oh,  woman! 

FIAMMA 
I  think  you  love  me. 

CANETTO 

Heaven  and  hell  are  very  near  akin, 
In  you. 

FIAMMA 
Canetto. 

CANETTO 
Oh,  well. 

[He  looks  at  the  sleeping  UGOLINO. 
I  am  as  he  at  last.  .  .  . 
How  will  you  do  it? 

FIAMMA 
As  you  please,  once  they  are  safe  away. 

CANETTO 

[Calling  down. 
Up,  Jacopone. 

[CANETTO  and  FIAMMA  stare  at  one  another,  the 

pit  between  them.    JACOPONE  comes  up.} 
You,  Captain,  lend  a  hand.  .  .  .  Unloose  his  bonds. 

[JACOPONE  slips  the  cords  from  the  CAPTAIN'S  wrists. 
Bring  up  the  man. 

[The  CAPTAIN  and  JACOPONE  go  down. 
Madonna,  you  are  strangely  calm. 
If  I  were  one  to  doubt  you, 
I'd  think  that  you  might  take  your  life. 

[FIAMMA  shakes  her  head. 
Fiamma,  I  envy  you.    You  are  strong. 

[The    CAPTAIN    and    JACOPONE    return    carrying 
DAMIANO.] 


ACT  iv]  SWORDS  163 

FlAMMA 

He  is  not  dead? 

CAPTAIN 
Not  dead,  but  only  stunned. 

FIAMMA 

Much  better  so.    He  would  believe  me  traitor. 
Now  lay  him  gently  down. 

[DAMIANO  is  placed  on  the  bench. 

FIORENZO 
Oh,  Mother  .  .  . 

FIAMMA 
Hush.  .  . 

You  must  do  as  I  tell  you,  now,  Fiorenzo, 
And  not  be  frightened  .  .  . 
You  must  protect  your  father  ...  Go  with  him 
And  when  you  come  ...  to  the  good  hermit's  cell, 
Say  to  the  hermit  I  entrusted  you 
To  him,  Fiorenzo,  and  remember  me 
Always. 

[She  kisses  him. 
[The  CAPTAIN  makes  to  lift  DAMIANO.    She  stops 

him.    She  turns  to  CANETTO.] 
You  will  entrust  them  to  the  Captain? 

CANETTO 
No. 

FIAMMA 
It  must  be  as  I  say. 

CANETTO 

[Looks  at  her  a  moment,  then  shrugs  his  shoulders. 
Captain,  you  will  go  free  upon  this  errand. 
There's  greater  enterprise  than  punishment 
Afoot.    I  am  the  greater  traitor. 


164  SWORDS  [ACT  iv 

I  atone  the  lessor's  sin. 
Convoy  this  load  of  carrion 
Over  the  water. 

FlAMMA 

Captain,  you  know  I  trust  you. 

CAPTAIN 
I  know  this  is  not  lightly  done. 

FIAMMA 
Stay  on  with  them. 

CAPTAIN 
Forever,  if  you  bid  me. 

FIAMMA 
And  tell  them  how  this  was. 

CANETTO 
Go. 

FIAMMA 

[  She  stops  the  CAPTAIN  again. 
I  will  not  speak  with  them,  but  only  look, 
And  swiftly  pass. 

[She  looks  on  DAMIANO  and  on  FIORENZO.     Then 
she  nods  to  the  CAPTAIN.    DAMIANO  is  carried  out 
by  the  CAPTAIN,  JACOPONE  and  another  soldier. 
FIORENZO  walks  sturdily  after  them.] 
A  breath  of  childhood  came  against  my  breast.  .  .  . 
A  kiss  of  childhood  brushed  across  my  lips.  .  ,  > 
My  breast  is  dry  again,  my  lips  are  dry.  .  .  . 
The  memory  will  vanish. 

[CANETTO  draws  the  emerald  necklace  forth  and 
throws  it  over  her  head,  holding  it  like  a  leash.] 

FIAMMA 

Canetto,  grant  my  eyes 
A  last  unstained  farewell. 


ACT  iv]  SWORDS  165 

CANETTO 
Go  up  ...  go  up.  ... 

FlAMMA 

[She  turns  toward  the  stair. 
Before  me  there  was  nothing.    After  me 
All  things  go  on. 

[She  ascends  to  the  window. 
The  stars  are  gone. 
I  think 

That  God  was  looking  down  upon  this  place 
And  would  not  show  his  face  to  us,  and,  so, 
Extinguished  them. 

CANETTO 

[Awed. 
Who  are  you? 

FIAMMA 

I  am  the  blinded  horse 
Discarded  from  the  wars. 
I  turn  the  heavy  millstone  of  despair 
Round,  round  and  round. 

CANETTO 

[He  is  almost  shaken. 
Afterwards, 

What  will  become  of  you? 
I  have  an  hour  only. 
What  will  become  of  you  afterwards? 

FIAMMA 

I  shall  go  up  to  heaven  joyfully 
To  guard  these  fortunate  memories  of  mine 
Lest  future  circumstance  bewilder  them. 
As  a  white,  soaring  sea  bird  I  shall  go 
Into  the  singing,  white  eternities. 

[Evidently  the  boat  bearing  its  precious,  tragic 
cargo  has  come  into  her  sight.  She  leans  far 
out  of  the  window.] 


166  SWORDS  [ACT  iv 

Oh,  you,  Fiorenzo  and  Damiano,  now  farewell! 

[She  has  looked  her  fill.  She  comes  brokenly  down 
the  steps  to  the  centre  and  begins  to  climb  the 
other  side.  Suddenly  she  stiffens  and  turns  to 
CANETTO,  looking  upon  him  as  with  an  unearthly 
sense  of  power.] 

£  CANETTO 

I  should  die  in  this! 

[He  moves  to  follow  her,  but  her  glance  halts  him. 
She  continues  toward  the  shrine  and  makes  the 
sign  of  the  cross  before  it.  She  does  not  pray. 
When  she  turns  toward  him  again,  there  is  a 
smile  of  triumph  on  her  face.  Her  voice  rings  out 
strongly.] 

GFlAMMA 
>me  when  you  will. 

[She  goes  into  her  room. 

CANETTO 
Ah! 

[He  starts.  He  glances  at  UGOLINO.  He  laughs 
nervously.  He  hears  the  singing  of  the  fishermen 
on  the  sea.  He  looks  toward  them.  He  listens 
to  his  master's  steady  breathing.  He  shrugs  his 
shoulders.  He  goes  quickly  to  the  stairs  and 
mounts  them.  He  stands  a  hesitant  moment  at 
the  door  of  FIAMMA'S  room.  He  starts  to  come 
down.  He  returns  and  goes  in.] 
[From  the  sea  comes  the  sound  of  a  sailor's  chantey. 

CHANTEY 
Strong  is  the  heart  of  the  Virgin,  soft  are  her  eyes! 

CHORUS 
Ohe  .  .  .  ohe.  .  .  . 

CHANTEY 
Gentle  is  she  and  lovely,  kindly  and  wise! 


ACT  iv]  SWORDS  167 

CHORUS 
Ohe  .  .  .  ohe.  .  .  . 

CHANTEY 
Her  dais  of  amber  and  silver  shines  in  the  skies! 

CHORUS 
Ohe  .  .  .  ohe.  .  .  . 

[The    chantey    intoned   rhythmically,    the    chorus 
shouted.] 

CHANTEY 
Man  that  is  born  of  woman  lives  unashamed! 

CHORUS 
Ohe  ...  ohe.  .  .  . 

CHANTEY 
Weakling  is  he  and  sinful,  brute  and  untamed! 

CHORUS 
Ohe  ...  ohe.  .  .  . 

CHANTEY 

But  his  soul  is  the  soul  of  Mary  the  Virgin  acclaimed! 
[JACOPONE  enters  during  the  chantey.  He  looks  at 
UGOLINO  who  stirs  uneasily.  The  castle  is  stirring 
again.  A  distant  trumpet  call,  and  a  roll  of 
drums.  The  clank  of  a  chain  as,  perhaps,  the 
portcullis  is  raised.} 

[A  soldier  comes  in. 
THE  SOLDIER 
Hi,  Jacopone! 

JACOPONE 

Shhh 

THE  SOLDIER 
Relief.  .  .  . 
Past  time,  you  dolt.    The  fishers  are  abroad. 

JACOPONE 
I  hear  them. 


168  SWORDS  [ACT  iv 

THE  SOLDIER 

[Sees  UGOLINO. 
Eh,  what?    Again? 

She's  a  cold  mistress.    Does  he  always  sleep 
Out  here? 

JACOPONE 
Silence,  you  swine. 

THE  SOLDIER 
He's  drunk.    God,  man, 
But  you  look  sick.  .  .  . 

JACOPONE 
And  so  would  you.  .  .... 

The  things  that  I  have  seen  this  night  and  heard! 

[He  goes  out.  A  ray  of  the  rising  sun  strikes  the 
tower  and  comes  down  from  above  direct  upon 
UGOLINO  who  stirs  again.  The  soldier  watches 
him  for  a  jew  seconds.  Then  he  sees  the  open 
trap,  goes  to  it,  looks  down,  closes  it  with  a 
crash.] 

UGOLINO 
Canetto!    Canetto! 

THE  SOLDIER 
Not  here,  my  lord. 

UGOLINO 

[Befuddled  still  by  wine. 
Where  is  he? 

THE  SOLDIER 
Couldn't  say. 

I've  been  on  guard  all  night. 
The  galleys  still  hold  off. 

UGOLINO 
It's  morning. 


ACT  iv]  SWORDS  169 

THE  SOLDIER 
Day. 
There's  matins  ringing. 

[The  bells  are  audible  once  more. 

UGOLINO 

Then  I've  been  sleeping.    Is  there  wine  there? 

[He  rises  clumsily,  not  yet  fully  awake.  The  sol 
dier  pours  him  wine  and  goes.  He  drinks  it, 
looks  about  him,  remembers.  Sees  the  closed  trap 
and  mutters,  scratching  his  head.] 

Ah,  Fiamma.  .  .  . 

Canetto,  where  are  you? 

Canetto! 

[A  terrible  suspicion  crosses  his  mind.  At  this  very 
moment  MADDELENA,  GIOVANNA  and  AMINA  enter 
with  their  brooms  and  pails  as  though  to  clean 
the  room.  They  stop  at  the  door.} 

MADDELENA 
Look  at  the  master  I 

AMINA 
He  has  slept  here  again  on  the  rushes. 

UGOLINO 

[With  a  bellow  of  rage  he  catches  up  his  sword 
where  he  had  dropped  it  upon  the  table  early  in 
the  act.} 

Harlot,  he's  in  your  chamber  1 
You've  got  him  in  your  chamber. 

[He  lurches  toward  the  stairs  and  up  them  toward 

the  door  of  FIAMMA 's  room.] 
[Off  stage  the  sound  of  a  faint  babble  of  voices, 
very  joyous  and  excited.     As  at  the  end  of  the 
first  act,  the  burghers  and  women  come  from  the 
village.     The  men  are  unarmed.     The  women 


170  SWORDS  [ACT  iv 

carry  palm  leaves.    They  come  quickly  past  the 
three  servants  and  pause.     They  see  UGOLINO.] 

GIOVANNA 

[Crying  out  in  terror. 
Oh,  God,  he'll  murder  her! 

UGOLINO 
Harlot! 

[He  has  reached  the  top  of  the  stair  and  he  pulls 
open  the  door  of  FIAMMA'S  chamber.     The  full 
glory  of  the  rising  sun  bursts  upon  him.    He  stag- 
S  gers  back.] 

[CANETTO'S  body  has  been  huddled  against  the  door 
on  the  inside.  It  jails  out  at  his  feet.  A  great 
wound  in  his  throat  shows  us  that  he  is  dead.] 

UGOLINO 

[His  sword  falls  from  his  hand  onto  the  stage.  He 
clutches  the  body  and  drags  it  down  the  stairs, 
gasping.] 

Canetto.  .  .  . 

Dead,  but  still  warm.  .  .  . 

Dead,  but  still  warm.  .  .  . 

There's  blood  upon  him.  .  .  . 

What  did  he  there? 

Canetto,  oh  my  brother,  my  Canetto! 

[The  refrain  of  the  chantey  is  fainter,  but  the  matins 
bells  have  swelled  jubilantly  out.  They  seem  to 
blend  together  in  a  hymn  of  triumph.  So  FIAMMA 
enters,  as  one  who  walks  gloriously  from  light  into 
music.  •  Her  hands  reach  out  before  her.  Her 
face  is  upturned  to  the  heavens.  The  look  in  her 
eyes  and  the  smile  of  her  lips  is  somehow  celestial. 
She  comes  quite  steadily  down  the  stair  and  goes 
toward  the  door.  She  is  conscious  of  nothing  but 
her  supreme  victory,  her  sublime  joy.] 


ACT  iv]  SWORDS  171 

A  WOMAN 

[As  FIAMMA  appears. 
Madonna  Fiamma! 

A  BURGHER 

You  are  saved,  Madonna! 

A  SOLDIER 
Madonna,  you  shall  go  free! 

[He  speaks  as  he  bursts  through  the  door. 
[The  NUNCIO  enters  with  other  soldiers.    He  pauses 
at  the  sight  of  FIAMMA.] 

A  BURGHER 
She  has  killed  Canetto. 

THE  NUNCIO 
Not  she,  but  God  ... 
She  was  God's  instrument. 

[UGOLINO  makes  one  motion  toward  the  divine 
woman  and  shrinks  back  aghast  against  the  wall. 
As  she  passes  him,  his  eyes  follow  her.} 

A  WOMAN 

Madonna,  you  are  saved! 
Oh,  Madonna! 

[The  last  words  in  complete  awe.    She  sinks  to  her 

knees.    All  the  others  kneel.} 
[A  radiance  of  light  shines  in  through  the  door  upon 
FIAMMA.     The  women  kiss  the  hem  of  her  dress. 
[She  is  gone  out  through  the  door  into  the  music. 
She  will  walk  dry  shod  over  the  waters.    A  tri 
umphant  shout  greets  her.} 
FIAMMA1     MADONNA  FIAMMA! 

THE  END 


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